November 27, 1987 |
It started at 7 p.m. as "the Negro swimmers were quitting the pool on schedule and the white swimmers were going in. " Some whites dunked a 14-year-old black into the public pool at 26th and Master streets and that started the North Philadelphia race riots of July 1941. It took 300 policemen to quiet things down. It's all there for anyone to read in the envelope marked "Riots: Race. Philadelphia, Prior to 1949. " A short walk away, in the file marked "Philadelphia: Organ Grinders" is a series of 8-X-10 glossy photos of Antonio Campanoro of S. 7th Street and his monkey at a "dental operation to make him (the monkey)
June 22, 1990 |
In 1938, fresh out of Lehigh University with a degree in economics, young Bill Gottlieb snared a job in the ad department of the Washington Post. "In order to keep my hand in at writing, and to spread the gospel of jazz," a much older Bill Gottlieb was reminiscing the other day, he began to submit a weekly jazz column to the Post's Sunday editions. For the first few weeks, they assigned a staff photographer to go along on his late-night/early-morning rounds of the places where jazz was played in the D.C. area.
November 24, 1991 |
In their 60 pictures on view at Haverford College, Venetian photographers Carlo Jacobi and Orestre Bertani use working methods that make other photographers look superficial by comparison. Their pictures rely on the witnesslike ability of the camera. They contain exquisitely rendered documentary detail. Jacobi and Bertani give constant attention to information and the use of straightforward, familiar forms and conventions as well as to composition that includes human figures going about their daily rounds.
April 1, 2012 |
WEST PALM BEACH, Fla. - When he was shot, Trayvon Martin was not the baby-faced boy in the photo that has been on front pages across the country. And George Zimmerman wasn't the beefy-looking figure in the widely published mugshot. Both photos are a few years old and no longer entirely accurate. Yet they may have helped shape initial public perceptions of the deadly shooting. "When you have such a lopsided visual comparison, it just stands to reason that people would rush to judgment," said Kenny Irby, who teaches visual journalism at the Poynter Institute, a journalism think tank in St. Petersburg, Fla. The most widely seen picture of Martin, released by his family and evidently taken a few years ago, shows a smiling, round-cheeked youngster in a red T-shirt.
April 1, 2011 |
'Documentary Pix: Philadelphia, a Century of Change," now at the Free Library of Philadelphia, is a vivid reminder of the rich trove of images in the central library's ever-expanding print and picture collection. Photos spanning the 20th century - of buildings, neighborhoods, and people, with special attention to the years 1900 and 1950 - are the central attraction. They provide a substantial introduction to a complex period in Philadelphia's history, from a stunning 1950 aerial view of Center City to the proud and well-groomed surviving half of a twin townhouse beginning a new life shorn of its old brick-and-mortar sidekick.
June 4, 2011 |
In one of her photos of the boarded-up homes on Osage Avenue near 62nd Street, the block destroyed by fire when the city dropped a bomb there 26 years ago, Drexel University student Kara Khan shows what was left behind in one vacated, rebuilt house. "There were children's school projects on the wall still," Khan said. "Toys were everywhere. Piles of clothing. I was terrified when I opened the door and thought, 'Oh my God, does someone still live here?' " To Khan, 22, who will graduate from Drexel next Saturday, the photo of the vacant home full of a family's belongings is a metaphor for the neighborhood itself.
November 29, 2001 |
Inspired by the events of Sept. 11, students at Friendship Elementary School in the Coatesville Area School District are capturing on film slices of American life that make them proud. "Proud to be American" is a school project that has photos lining hallways. The children were given cameras donated to the school by teachers and parents to take pictures of everyday events depicting why the students are grateful to be an American. One photo was a food-laden breakfast table with the caption: "I can eat a big breakfast every day. Some kids can't.
July 18, 1986 |
Prowling the back alleys of the city in search of photo galleries (which is getting harder and harder with all the trash piling up), I fail to find any new ones. But I have come across something Philadelphia has lots of: restaurants. True, but irrelevant, you say? Wrong, for restaurants happen to be a great source of wall space. And a lot of them fill it with photography. We photophiles would love to think that the city's restaurateurs are grand proponents of the photographic medium, taking up the slack where the galleries often fail us. But the art shows that hang in restaurants are little more than afterthoughts to the owners, proud as they may be of them.
November 18, 1993 |
Marc Okkonen, the author who gave us the definitive book on "Baseball Uniforms of the 20th Century" last year, is back with a Christmas gift idea for baseball fans of more recent vintage. His new book is "Baseball Memories, 1950-59, An Illustrated Scrapbook of Baseball's Fabulous 50s. " And "scrapbook" is the perfect description for Okkonen's latest work because he uses bits and scraps from countless publications and other sources to provide us with a photograph of virtually every player who saw any action at all in the majors during the 1950s.
January 19, 2003 |
Affectionate portrait photographs of friends, loved ones, neighbors and fellow artists taken over a recent two-year period by Brian H. Peterson fill gallery walls at Widener University. Well known as the senior curator at the James A. Michener Art Museum in Doylestown, this Lower Gwynedd resident is also a prolific photographer who has had more than 25 one-man photo exhibits since 1980. If his Widener show provides its own distinctive vantage on this artist's portraits, a subject he has not exhibited before, it also represents a coming full circle of sorts for Peterson's work as a whole, as some of his earlier and quite familiar nature and landscape themes are included here.