Authors, Marvin Heiferman
01.11.–15.12.2013
7. I, It, We, and They See You

In Blue Nights, a 2011 book in which Joan Didion struggles to come to terms with her daughter’s death, she relates how, when she was briefly hospitalized herself, doctors urged her to undergo a medical procedure:

I recall resisting: since I had never in my life been able to swallow an aspirin it seemed unlikely that I could swallow a camera.

“Of course you can, it’s only a little camera.”

A pause. The attempt at briskness declined into wheedling: “It’s really a very little camera.”

In the end I did swallow the very little camera, and the very little camera transmitted the desired images, which did not demonstrate what was causing the bleed but did demonstrate that with sufficient sedation anyone could swallow a very little camera.

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Published: 13.12.2013
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6. Photography, She Said, Makes Me Nervous

Michael Wesely, Jochen Holy (12.06 - 12.11 Uhr, 6.3.2013) © Michael Wesely

Decades ago, when I wanted to be a painter and also needed a job, I thought it might be good to get some hands-on art world experience. I went to a number of galleries to inquire if there might be any positions and—in the era before MFA, museum studies, and arts administration programs made that crazily competitive—was hired by Harold Jones, the founding director of LIGHT Gallery, which had recently opened on Madison Avenue. Harold, who had spotted me looking at shows there previously, took a chance, hired me, and in ways I still marvel at, changed the course of my life. more

Published: 03.12.2013
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5. How, Where, and When Will We Really Talk About Photography?

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In an earlier post where I marveled over the almost unimaginable number of photographic images made daily, some commenters here and on Twitter (where I’m happy to see these posts bouncing around, too) remarked that it was time to get over being amazed, alarmed, or fetishizing what is, in fact, an undeniable pile up of pictures. The gist of some of those responses was that the bulk of those images are made privately, don’t circulate widely, and aren’t particularly good or meaningful in the first place. more

Published: 22.11.2013
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4. Here's Looking at Me

In a defining moment of Nan Goldin’s 1980s slideshow, The Ballad of Sexual Dependency, the lyrics to the Velvet Underground’s classic 1967 song—I’ll be your mirror/Reflect what you are, in case you don't know…'Cause I see you—are heard as slides of women looking at their reflections in mirrors are projected, one after another, every four seconds. Mirrors, a much-used device in Goldin’s magnum opus, serve as constant reminders of our attempts to see ourselves clearly in reflective surfaces, through the eyes of others and, of course, through photography.

Nan Goldin, Self-Portrait with Milagro, The Lodge, Belmont, MA 1988, 1988. Silver dye bleach print, 69.5 × 101.6 cm. © Nan Goldin/Courtesy of Matthew Marks Gallery, New York

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Published: 13.11.2013
13 comments
3. Posing as What?

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Published: 09.11.2013
4 comments
2. The River

The “Narrative Clip,” a wearable, life-logging camera that shoots a photo every 30 seconds.

The statistics are staggering, almost incomprehensible. It is estimated that every day, 1.3 billion photographs are made. Of those, 350 million are uploaded to Facebook. Google+ users, who are currently being offered some of the most advanced and easy to use photo-editing tools to lure them away from Facebook, are posting another 214 million a day. 150 million photos are shared through Snapchat, 55 million via Instagram, and another 1.4 million are added to Flickr. more

Published: 05.11.2013
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1. A Moving Target

Using Still Searching as a shared space, what I hope to do over the next six weeks is both to stimulate a dialog and extend a project I’ve been working on lately, which involves taking a broad look at photography as the medium itself is in the midst of transformation. To that end, watch for links I’ll post periodically to online news reports and timely stories about provocative images, events, and issues in visual culture. more

Published: 01.11.2013
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