Rebecca Bengal considère les photographes qui ont défini notre relation au médium. À travers de généreux essais et interviews, elle contemple le pouvoir narratif de la photographie, de l’intimité radicale du demi-monde new-yorkais de Nan Goldin aux photos de jeunes filles rebelles sur la route. Le Bengale nous rapproche des artistes pionniers et des histoires personnelles et politiques entourant leurs images. Elle voyage avec Alec Soth à Minneapolis, à la recherche des maisons où Prince a vécu, et revisite Chauncey Hare 1979 protestation contre le Musée d’Art Moderne. Elle parle avec Dawoud Bey de ses portraits évocateurs et explore la vision cinématographique de Diana Markosian sur l’immigration de sa famille aux États-Unis. Tout au long de Strange Hours, la prose du Bengale est adaptée à l’alchimie de l’expérience, du hasard et de la vision qui a toujours poussé le potentiel de la photographie pour une narration inoubliable ; préface de Joy Williams, photos en n.b. et en couleurs.
SOMMAIRE / CONTENTS
- Foreword by Joy Williams
- The World of Judith Joy Ross
- Slowly, and with Much Expression
- William Gedney’s Restless Youth
- A Brightness I Had Never Seen: Diana Markosian in Santa Barbara
Her Own Private Iowa - I Want My People to Remember Themselves: Richard Throssel and Horace Poolaw
- Rewriting “The Ballad”: A Conversation with Nan Goldin
- Photography’s Fiction of Truth: Yevgenia Belorusets and the Power of Ambiguity
- In the Place Where Prince Lived
- Trail Blaze in a Electrifying Blur: Ming Smith and Her Muses
- Close Up the Honky Tonks: Henry Horenstein in 1970s Nashville
- The Enormity of the Moment: Life and Death on an Argentinian Farm
- And the Clock Waits So Patiently
- Chauncey Hare’s Protest
- Picturing the Past-Present: A Visit with Dawoud Bey in Brooklyn
- Strange Hours: William Eggleston in Memphis, William Egglestion in New York City
- The Jeremys: A Short Story for Justin Kurland’s “Girl Pictures”
Rebecca Bengal considers the photographers who have defined our relationship to the medium. Through generous essays and interviews, she contemplates photography’s narrative power, from the radical intimacy of Nan Goldin’s New York demimonde to Justine Kurland’s pictures of rebel girls on the open road. Bengal brings us closer to pioneering artists and the personal and political stories surrounding their images. She travels with Alec Soth in Minneapolis, searching for the houses where Prince once lived, and revisits Chauncey Hare’s 1979 protest against the Museum of Modern Art. She speaks with Dawoud Bey about his evocative portraits and explores Diana Markosian’s cinematic take on her family’s immigration to the US. Throughout Strange Hours, Bengal’s prose is attuned to the alchemy of experience, chance, and vision that has always pushed photography’s potential for unforgettable storytelling ; foreword by Joy Williams.
