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Posts Tagged ‘Malcolm X’

An Urgent Message

February 21, 2014 | by

(1)An Urgent Message, Washington, DC

Bob Adelman, An Urgent Message, Washington, DC, 1963, Courtesy of the Photographer

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Bob Adelman, Martin Luther King, Jr. and Coretta Scott King Outside Montgomery on the Fourth Day of the March, Alabama Route 80, 1965, Courtesy of the Photographer

(3) CORE Worker Mimi Feingold and Local Residents Singing at the End of the Day, St. Francisville, West Feliciana Parish, LA

Bob Adelman, CORE Worker Mimi Feingold and Local Residents Singing at the End of the Day, St. Francisville, West Feliciana Parish, LA, 1963, Courtesy of the Photographer

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Bob Adelman, On the Frosted Window of a Freedom Ride Bus Between New York and Washington, DC, 1961, Gelatin silver print, Courtesy of the Photographer

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Bob Adelman, Segregated Movie Theater, Birmingham, AL, 1963, Gelatin silver print, Courtesy of the Photographer

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Bob Adelman, Marcher with Flag, Alabama Route 80, 1965, Digital c-print, Courtesy of the Photographer

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Bob Adelman, Nighttime Demonstration in Support of the Mississippi Freedom Democratic Party, with
Images of Slain Civil Rights Workers Schwerner, Chaney, and Goodman, Atlantic City, NJ
, 1964, gelatin silver print. Courtesy of the photographer.

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Bob Adelman, Marking a Ballot, Camden, AL, 1966, gelatin silver print. Courtesy of the photographer.

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Bob Adelman, CORE Volunteer Helping an Older Woman Learn to Fill Out a Voter Registration Form, East Feliciana Parish, LA, 1963, gelatin silver print. Courtesy of the photographer.

BOB ADELMAN

Marco Grob, Bob Adelman.

Bob Adelman’s amazing photographs—the majority of them black-and-white prints—fill the second floor of the Museum of Art in Fort Lauderdale, where they will be on display until May 17. He photographed what came to be significant moments in the civil rights movement as they were happening. As a photographer for CORE, SNCC, Life magazine, and the NAACP Legal Defense Fund, he was on the scene for moments both momentous and not, to photograph Malcolm X and Martin Luther King Jr. and also never-to-be-famous individuals, families, children—people we wouldn’t have seen again, had Adelman not been there to show them on the sidelines as well as in the forefront, their eyes their own camera lenses, looking back; exiting “White Men Only” bathrooms at the courthouse in Clinton, Louisiana; and then kids who climbed up in a tree to view the memorial service of Dr. King, attended by Robert Kennedy (what a portrait of grief), who’d be dead himself only months later. As a documentary photographer, nothing stopped Bob. It was dangerous work, as was pointed out by one of the speakers at the January 19 museum opening, but Bob found inequality inexplicable and insupportable. In his college years, he studied philosophy to try to figure out the point of being alive. In the civil rights movement, he found his answer.

Don’t miss (not that you could) the enormous enlargement of the contact sheet from when Bob was first focusing on the police’s attempt to blast away protestors in Birmingham by aiming fire hoses at them. It gives you a chance to see the photographer’s mind at work, frame after frame, and is unforgettable as an image, the people holding hands, some with their hats not yet knocked off, in Kelly Ingram Park, struggling to remain upright in the blast, a fierce, watery tornado that obliterates the sky as it seems to become a simultaneously beautiful and malicious backdrop that obliterates the world. The large photograph in the museum took two days to print. Dr. King, upon first seeing Bob’s photograph: “I am startled that out of so much pain some beauty came.”

Ann Beattie’s story “Janus” was included in John Updike’s The Best American Short Stories of the Century.

 

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Cinematic Librarians, and Other News

November 12, 2013 | by

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  • The Brooklyn Quarterly publishes a roundtable with five writers on the purpose and state of argumentative fiction.
  • Compellingunique, and poignant get 86’d from PW reviews. 
  • Party Girl, Bunny Watson, and other amazing pop-culture librarians.
  • The family of Malcolm X is suing to prevent the publication of the diary he kept in the year prior to his death.
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    You Take Your Love Where You Get It: An Interview with Kenneth Goldsmith

    April 2, 2013 | by

    Kenneth-Goldsmith_White-House-Red_ThumbKenneth Goldsmith’s writing has been called “some of the most exhaustive and beautiful collage work yet produced in poetry.” Goldsmith is the author of eleven books of poetry, founding editor of the online archive UbuWeb, and the editor of I'll Be Your Mirror: The Selected Andy Warhol Interviews, which was the basis for an opera, Trans-Warhol, that premiered in Geneva in 2007. An hour-long documentary on his work, Sucking on Words, was first shown at the British Library that same year. In 2011, he was invited to read at President Obama’s “A Celebration of American Poetry” at the White House, where he also held a poetry workshop with First Lady Michelle Obama. Earlier this year, he began his tenure as the first-ever Poet Laureate of the Museum of Modern Art in New York.

    I recently sat down with Goldsmith to discuss his new book, Seven American Deaths and Disasters.

    Since your practice emphasizes the value of the selection process over the creation process, how do you choose what to include and exclude from Seven American Deaths and Disasters?

    I began with the assassination of JFK, which is arguably the beginning of media spectacle, as defined and framed by Warhol. His portrait of Jackie mourning iconizes that moment forever. Although he made Marilyn’ss, he never memorialized her death, thus it never entered into the realm of media spectacle in the same way. From JFK, I naturally proceeded to RFK, an eyewitness account of his shooting at the Ambassador Hotel in Los Angeles. It’s an incredible linguistic document—you really feel the newsman’s struggle to find words to describe what is unfolding before his eyes. John Lennon is taken from a cassette tape made by someone scanning the radio the night of and days following his assassination, which feels like an audio document from a lost time. Space Shuttle Challenger is from a TV broadcast of the event and its long, weird, silent aftermath. Columbine is straight transcript of a harrowing 911 call. The World Trade Center, the longest piece in the book, is from several sources—talk radio, news radio, color commentary—stitched together into a multichapter epic, thus mirroring the gargantuan scale of the event. And Michael Jackson is from a catty FM station, where the shock jocks have no problem cracking jokes and making racist comments at his expense. Read More »

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