Henry Smith

Jordan Weitzman gets together with S*an D. Henry Smith to talk about their work and current show up at 47 Canal in New York. Hosted on Acast. See acast.com/privacy for more information.

Jordan Weitzman gets together with S*an D. Henry Smith to talk about their work and current show up at 47 Canal in New York. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

S*an D. Henry Smith

 Hosted on Acast. See acast.com/privacy for more information.

Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Giulia Zorzi 

In our last episode of the year, Jordan Weitzman gets together with artist Genesis Baez for a generous conversation about her work and upcoming book with Capricious. Hosted on Acast. See acast.com/privacy for more information.

In our last episode of the year, Jordan Weitzman gets together with artist Genesis Baez for a generous conversation about her work and upcoming book with Capricious. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Genesis Baez

A conversation with Rahim Fortune which took place at the New York Art Book Fair's Classroom program last month. Join host Jordan Weitzman as he talks to Fortune about his book, I can't stand to see you cry, published by Loose Joints. Hosted on Acast. See acast.com/privacy for more information.

A conversation with Rahim Fortune which took place at the New York Art Book Fair's Classroom program last month. Join host Jordan Weitzman as he talks to Fortune about his book, I can't stand to see you cry, published by Loose Joints. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Rahim Fortune

Baldwin Lee

Gary Schneider

Jordan Weitzman visits artist and master printer Gary Schneider at his home on Long Island to talk about his innovative work in portraiture, his legendary East Village photo lab, and his friendship with Peter Hujar. Hosted on Acast. See acast.com/privacy for more information.

Jordan Weitzman visits artist and master printer Gary Schneider at his home on Long Island to talk about his innovative work in portraiture, his legendary East Village photo lab, and his friendship with Peter Hujar. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Matthew Leifheit

A visit with Matt Leifheit at his Matte HQ storefront in Brooklyn to talk about his work as a photographer, publisher and editor. His first monograph, To Die Alive, is being published by Damiani this spring. Hosted on Acast. See acast.com/privacy for more information.

A visit with Matt Leifheit at his Matte HQ storefront in Brooklyn to talk about his work as a photographer, publisher and editor. His first monograph, To Die Alive, is being published by Damiani this spring. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Linda Rosenkrantz

Peter Hujar's Day by Linda Rosenkrantz can be ordered at https://magichourphoto.org/books/peter-hujars-day Hosted on Acast. See acast.com/privacy for more information.

Peter Hujar's Day by Linda Rosenkrantz can be ordered at <a href="https://magichourphoto.org/books/peter-hujars-day" rel="nofollow" target="_blank">https://magichourphoto.org/books/peter-hujars-day</a> Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Terri Weifenbach

Jordan Weitzman gets together with Terri Weifenbach at Jardins des Plantes, where she's photographed extensively since moving to Paris two years ago. They talk about her new book, Cloud Physics, published this month with The Ice Palace and Atelier EXB. Hosted on Acast. See acast.com/privacy for more information.

Jordan Weitzman gets together with Terri Weifenbach at Jardins des Plantes, where she's photographed extensively since moving to Paris two years ago. They talk about her new book, Cloud Physics, published this month with The Ice Palace and Atelier EXB. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Billy Sullivan

Jordan Weitzman gets together with painter and photographer Billy Sullivan at his loft on the Bowery, where he's been living for over 40 years.Jordan also makes a special announcement about a new imprint that's been in the works for the past year - Magic Hour Press - and new books coming this fall by Ian Lewandowski and Linda Rosenkrantz.Visit www.magichourphoto.org to find out more. Hosted on Acast. See acast.com/privacy for more information.

Jordan Weitzman gets together with painter and photographer Billy Sullivan at his loft on the Bowery, where he's been living for over 40 years.Jordan also makes a special announcement about a new imprint that's been in the works for the past year - Magic Hour Press - and new books coming this fall by Ian Lewandowski and Linda Rosenkrantz.Visit <a href="www.magichourphoto.org" rel="noopener noreferrer nofollow" target="_blank">www.magichourphoto.org</a> to find out more. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

A conversation series on photography where host Jordan Weitzman sits down with emerging and established photographers, publishers and editors to discuss their work. Hosted on Acast. See acast.com/privacy for more information.

Well informed, great interviews and very insightful podcast

Excellent!

So glad this podcast exists. It fills a much needed void within the photography landscape.

Thanks for this...

A conversation series on photography where host Jordan Weitzman sits down with emerging and established photographers, publishers and editors to discuss their work. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Magic Hour

Alec Soth

Photographer Alec Soth recently had a revelation that has been changing how he's thinking about both his work and life Hosted on Acast. See acast.com/privacy for more information.

Photographer Alec Soth recently had a revelation that has been changing how he's thinking about both his work and life Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Jordan Weitzman sits down with photographer Allen Frame at his home and talk about everything from his early days in Boston with Nan Goldin and David Armstrong, to where his sense of space in his photographs comes from. Hosted on Acast. See acast.com/privacy for more information.

Jordan Weitzman sits down with photographer Allen Frame at his home and talk about everything from his early days in Boston with Nan Goldin and David Armstrong, to where his sense of space in his photographs comes from. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Allen Frame

Gregory Halpern

Gregory Halpern talks with Jordan Weitzman about his development as a photographer and the thinking behind his work and his new book, ZZYZX Hosted on Acast. See acast.com/privacy for more information.

Gregory Halpern talks with Jordan Weitzman about his development as a photographer and the thinking behind his work and his new book, ZZYZX Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Carmen Winant

Just last weekend, a piece of Carmen’s - a portrait in multiple images of Toni Morrisson was featured on the last cover of the New York Times Magazine of the decade. The culmination of an eventful past couple of years for Carmen, she released two new books - Notes on Fundamental Joy with Printed Matter and My Birth with SPBH Editions. That book accompanied her show of the same name in MoMa’s New Photography in 2018. In that powerful installation, she used two facing walls to tape up over 2000 found photographs of women giving birth.Winant was born in San Fransisco, studied at UCLA and the California College of the Arts and now lives in Columbus, Ohio with her husband, artist Luke Stettner and their two sons, Carlo and Rafa. She is the Roy Lichtenstein chair of studio art at Ohio State University where she teaches as well. Hosted on Acast. See acast.com/privacy for more information.

Just last weekend, a piece of Carmen’s - a <a href="https://www.nytimes.com/2019/12/26/magazine/behind-the-cover-the-lives-they-lived.html" rel="noopener noreferrer nofollow" target="_blank">portrait</a> in multiple images of Toni Morrisson was featured on the last cover of the New York Times Magazine of the decade. The culmination of an eventful past couple of years for Carmen, she released two new books -<a href="https://www.printedmatter.org/catalog/53736/" rel="noopener noreferrer nofollow" target="_blank"> Notes on Fundamental Joy</a> with Printed Matter and <a href="https://shop.selfpublishbehappy.com/products/my-birth-by-carmen-winant" rel="noopener noreferrer nofollow" target="_blank">My Birth</a> with SPBH Editions. That book accompanied her show of the same name in <a href="https://www.moma.org/audio/playlist/49/745" rel="noopener noreferrer nofollow" target="_blank">MoMa’s New Photography</a> in 2018. In that powerful installation, she used two facing walls to tape up over 2000 found photographs of women giving birth.Winant was born in San Fransisco, studied at UCLA and the California College of the Arts and now lives in Columbus, Ohio with her husband, artist Luke Stettner and their two sons, Carlo and Rafa. She is the Roy Lichtenstein chair of studio art at Ohio State University where she teaches as well. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Patrice Aphrodite Helmar

I remember the first time I met Patrice Aphrodite Helmar. It was around this time in 2017, and a friend asked if I wanted to go and check out the Backyard Biennial that she was putting on at her place in Ridgewood. A self-initiated curatorial effort, she showcased the work of emerging and established photographers alike. There was food and drinks, a slideshow going, and prints untraditionally arranged within the orange walls of her backyard. As we walked in to her ground floor apartment, she greeted and hugged us as if we were old friends. I remember we talked about Friedlander’s Nudes and EJ Belloq’s Storyville portraits at some point that night, but what stuck with me most was a kind of energy that she filled the room with.Patrice makes heartbreaking photos - lots of pictures of people, often in intimate settings. She’s made lots of her work in bars, where she’s also worked quite a bit, and she’s spent a lot of time shooting in New Orleans. She’s exhibited work across the country, but, she also gives so much back and makes such an important contribution to the photo community in New York. Aside from the Backyard Biennial, she teaches at Pratt and Fordham, and she's the founder Marble Hill Camera Club.-This episode was brought to you by:www.charcoalbookclub.comThe world's first photobook of the month club Hosted on Acast. See acast.com/privacy for more information.

I remember the first time I met Patrice Aphrodite Helmar. It was around this time in 2017, and a friend asked if I wanted to go and check out the Backyard Biennial that she was putting on at her place in Ridgewood. A self-initiated curatorial effort, she showcased the work of emerging and established photographers alike. There was food and drinks, a slideshow going, and prints untraditionally arranged within the orange walls of her backyard. As we walked in to her ground floor apartment, she greeted and hugged us as if we were old friends. I remember we talked about Friedlander’s Nudes and EJ Belloq’s Storyville portraits at some point that night, but what stuck with me most was a kind of energy that she filled the room with.Patrice makes heartbreaking photos - lots of pictures of people, often in intimate settings. She’s made lots of her work in bars, where she’s also worked quite a bit, and she’s spent a lot of time shooting in New Orleans. She’s exhibited work across the country, but, she also gives so much back and makes such an important contribution to the photo community in New York. Aside from the Backyard Biennial, she teaches at Pratt and Fordham, and she's the founder Marble Hill Camera Club.-This episode was brought to you by:<a href="http://www.charcoalbookclub.com/" rel="noopener noreferrer nofollow" target="_blank">www.charcoalbookclub.com</a>The world's first photobook of the month club Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Mark Steinmetz

Jordan Weitzman visits Mark Steinmetz at his home in Athens, Georgia to talk about his work. Hosted on Acast. See acast.com/privacy for more information.

Jordan Weitzman visits Mark Steinmetz at his home in Athens, Georgia to talk about his work. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Matt Grubb

Matt Grubb is sitting in his car in the parking lot outside his favourite movie theatre in Queens, sipping a Diet Coke. As we're coordinating a time to meet for this interview, he tells me that he’s about to go see the new Avengers movie for the third time. It had just come out two weeks ago….I’m amazed and laughing to myself just thinking how much i love that compulsion. I think that same kind of curiosity and passion goes into his work and is one of the reason’s he’s such a brilliant image maker. His pictures, often varied genre’s, are unified somehow in this mysterious, very original combination of eloquence and strangeness.Matt grew up in San Francisco, earned his MFA at Yale and has done editorial work for the New York Times, Vice and most recently, Gayletter. This past summer, he published his first, now sold out book, Brian Singer 2001, which was launched at 56 Henry in New York alongside a selection of new photographs made this year. Hosted on Acast. See acast.com/privacy for more information.

Matt Grubb is sitting in his car in the parking lot outside his favourite movie theatre in Queens, sipping a Diet Coke. As we're coordinating a time to meet for this interview, he tells me that he’s about to go see the new Avengers movie for the third time. It had just come out two weeks ago….I’m amazed and laughing to myself just thinking how much i love that compulsion. I think that same kind of curiosity and passion goes into his work and is one of the reason’s he’s such a brilliant image maker. His pictures, often varied genre’s, are unified somehow in this mysterious, very original combination of eloquence and strangeness.Matt grew up in San Francisco, earned his MFA at Yale and has done editorial work for the New York Times, Vice and most recently, Gayletter. This past summer, he published his first, now sold out book, Brian Singer 2001, which was launched at 56 Henry in New York alongside a selection of new photographs made this year. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Danny Lyon is a living legend in photography. Born in 1942 to a Russian-Jewish mother and German-Jewish father, he grew up in Kew Gardens, Queens and went on to study history and philosophy at the University of Chicago. Beginning in the early 1960’s while in his early twenties, he was drawn to the civil rights movement in the south which he immersed himself in and documented. He became lifelong friends with Julian Bond and congressman John Lewis, whom he lived with in an apartment in Atlanta. He was in jail with Martin Luther King, jr. During that decade, he also became a member of the Chicago Outlaw biker gang which he photographed over a period of a few years and he made work in a Texas prison that would eventually become the books, The Bikeriders (1968) and Conversations with the Dead (1971), respectively.Lyon is a Guggenheim fellow twice over (1969 &amp; 1978) and his work is held in countless museum collections around the world including in The Museum of Modern Art and The Whitney.While he devoted himself to photography throughout the 60’s, he turned to film in the early 70’s. His first film, Social Sciences 127 is about a wild tattoo artist named Bill Sanders, which he shot and then edited at Robert Frank’s apartment. It was at his apartment that Frank introduced Lyon to Danny Seymour, who would give him a cheque for $7,000 to finish his next film, Llanito. As a result of Seymour financing his film, Lyon was able to use his own savings to buy a piece of irrigated land in Bernalillo, New Mexico. He built a house on the land with an undocumented Mexican worker named Eddie, which he and his wife Nancy still live in today. We conducted this interview in the living room of their house. Hosted on Acast. See acast.com/privacy for more information.

Danny Lyon is a living legend in photography. Born in 1942 to a Russian-Jewish mother and German-Jewish father, he grew up in Kew Gardens, Queens and went on to study history and philosophy at the University of Chicago. Beginning in the early 1960’s while in his early twenties, he was drawn to the civil rights movement in the south which he immersed himself in and documented. He became lifelong friends with Julian Bond and congressman John Lewis, whom he lived with in an apartment in Atlanta. He was in jail with Martin Luther King, jr. During that decade, he also became a member of the Chicago Outlaw biker gang which he photographed over a period of a few years and he made work in a Texas prison that would eventually become the books, The Bikeriders (1968) and Conversations with the Dead (1971), respectively.Lyon is a Guggenheim fellow twice over (1969 &amp; 1978) and his work is held in countless museum collections around the world including in The Museum of Modern Art and The Whitney.While he devoted himself to photography throughout the 60’s, he turned to film in the early 70’s. His first film, Social Sciences 127 is about a wild tattoo artist named Bill Sanders, which he shot and then edited at Robert Frank’s apartment. It was at his apartment that Frank introduced Lyon to Danny Seymour, who would give him a cheque for $7,000 to finish his next film, Llanito. As a result of Seymour financing his film, Lyon was able to use his own savings to buy a piece of irrigated land in Bernalillo, New Mexico. He built a house on the land with an undocumented Mexican worker named Eddie, which he and his wife Nancy still live in today. We conducted this interview in the living room of their house. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Danny Lyon

Paul Mpagi Sepuya

I went to go visit Paul Mpagi Sepuya on a cool day this past winter at his studio in the Boyle Heights area of LA. In one room, test prints, book mockups His desk and a big printer filled the space. In the other, a Russian plywood bench, a big mirror on the wall, a velvet curtain hanging and a camera on a tripod. He suggested we do the interview in that room, the set where many of his photos have been made, and maybe somehow, maybe the setting would provoke more interesting conversation. The items in that room are the elements in his photographs, and they all have significance in relation to his interests in portraiture, but what I found equally as interesting was the economy he used with those props in order to produce varieties of different, complex images. Nothing about his picture making process is really fancy, but that simplicity allows him to roam around in, and complicate the frame.In the past few years, Sepuya has really been on a roll - he’s had work in Moma’s most recent New Photography exhibition, is currently in the Whitney Biennial. He’s had had numerous solo shows, most recently at Team Gallery in New York and his photo Darkroom Mirrors was featured on the cover of Artforum’s March 2019 issue.-This episode was brought to you by:www.charcoalbookclub.com&amp;www.lightwork.org/shop Hosted on Acast. See acast.com/privacy for more information.

I went to go visit Paul Mpagi Sepuya on a cool day this past winter at his studio in the Boyle Heights area of LA. In one room, test prints, book mockups His desk and a big printer filled the space. In the other, a Russian plywood bench, a big mirror on the wall, a velvet curtain hanging and a camera on a tripod. He suggested we do the interview in that room, the set where many of his photos have been made, and maybe somehow, maybe the setting would provoke more interesting conversation. The items in that room are the elements in his photographs, and they all have significance in relation to his interests in portraiture, but what I found equally as interesting was the economy he used with those props in order to produce varieties of different, complex images. Nothing about his picture making process is really fancy, but that simplicity allows him to roam around in, and complicate the frame.In the past few years, Sepuya has really been on a roll - he’s had work in Moma’s most recent New Photography exhibition, is currently in the Whitney Biennial. He’s had had numerous solo shows, most recently at Team Gallery in New York and his photo Darkroom Mirrors was featured on the cover of Artforum’s March 2019 issue.-This episode was brought to you by:<a href="http://www.charcoalbookclub.com" rel="nofollow" target="_blank">www.charcoalbookclub.com</a>&amp;<a href="http://www.lightwork.org/shop" rel="nofollow" target="_blank">www.lightwork.org/shop</a> Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Episode 32 | Paul Mpagi Sepuya

John Gossage

In this episode, Jordan Weitzman sits down with photographer John Gossage at his home in Washington DC. Hosted on Acast. See acast.com/privacy for more information.

In this episode, Jordan Weitzman sits down with photographer John Gossage at his home in Washington DC. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Jason Fulford

In this episode, Jordan Weitzman sits down with photographer, author and publisher Jason Fulford at his home and studio in Scranton, PA. Hosted on Acast. See acast.com/privacy for more information.

In this episode, Jordan Weitzman sits down with photographer, author and publisher Jason Fulford at his home and studio in Scranton, PA. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Rosalind Fox

It was a true honour to meet with Rosalind Fox Solomon, just a few days shy of her 88th birthday. It’s often noted how she came to photography later than most when she was close to 40, but i couldn’t help think more about how long she’s kept it up for. How long she’s stuck with it. In her 80’s, she has has continued to make photographs, and strong ones at that. When we met, she served black coffee and showed me her old darkroom. The way in which she printed was always of great importance, she told me. An exhibition poster hung from a solo show at Moma in 1986, but that’s just tip of the iceberg. The breadth of her work is enormous. It’s held in over 50 museums around the world, has been the subject of 30 solo shows, and appears in 11 monographs, most recently, Got to Go with Mack. She has always photographed both at home and abroad making pictures of people suffering from AIDS during the crisis in New York to Israeli’s and Palestine’s in the West Bank just a few years ago. Vince Aletti said that he’s thought of her as an intrepid explorer, who brings back these pictures that are not necessarily easy to look, but has a lot to do with what makes them so powerful. She’s happy to disturb us.  Hosted on Acast. See acast.com/privacy for more information.

It was a true honour to meet with Rosalind Fox Solomon, just a few days shy of her 88th birthday. It’s often noted how she came to photography later than most when she was close to 40, but i couldn’t help think more about how long she’s kept it up for. How long she’s stuck with it. In her 80’s, she has has continued to make photographs, and strong ones at that. When we met, she served black coffee and showed me her old darkroom. The way in which she printed was always of great importance, she told me. An exhibition poster hung from a <a href="https://www.rosalindfoxsolomon.com/#/ritual/" rel="noopener noreferrer nofollow" target="_blank">solo show at Moma in 1986</a>, but that’s just tip of the iceberg. The breadth of her work is enormous. It’s held in over 50 museums around the world, has been the subject of 30 solo shows, and appears in 11 monographs, most recently, <a href="http://www.mackbooks.co.uk/books/1104-Got-to-Go.html" rel="noopener noreferrer nofollow" target="_blank">Got to Go</a> with Mack. She has always photographed both at home and abroad making pictures of people suffering from AIDS during the crisis in New York to Israeli’s and Palestine’s in the West Bank just a few years ago. Vince Aletti said that he’s thought of her as an intrepid explorer, who brings back these pictures that are not necessarily easy to look, but has a lot to do with what makes them so powerful. She’s happy to disturb us. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Rosalind Fox Solomon

Susan Meiselas

I got to Susan Meiselas’ Mott street studio a few minutes early and one of her assistants let me in to set up my gear. As I was waiting for her to arrive, I was leafing through a worn out first edition of Carnival Strippers, thinking to myself nervously, in that bout of anxiety before an interview - what are we going to even talk about that she’s gonna find interesting? The door clicked open she flew into the basement studio apologizing for a Magnum Foundation meeting running a few minutes late. She asked one of her assistants to prepare two cameras for some portraits of an old acquaintance she was going to do that evening an at the theatre, and rummaged through a couple manilla files looking for a note that she didn’t want to forget, and excused herself to shoot of a quick email. As soon as we sat down at the table and put the headphones on, though, her attention, in a split second, became so focused and engaged, as if none of the other million things she was working on or thinking about mattered. And that focus grabbed and threw me into this zone - my insecurities and preoccupations of what we were going to talk about dissipated in favour of an attention and curiosity in her.Susan Meiselas has spent her life going into situations and making such varied acquaintances with who she has photographed over time, from young teenage girls outside her home on Mott Street to women doing striptease at New England country fairs. She’s documented human rights issues in Nicaragua to the goings on of exclusive S and M club in New York called Panora’s box. Meeting people and making quick acquaintances is one thing, but then making good pictures in those situations is another. It requires a kind of focus - getting into a zone - that I saw so palpably when we got together.Meiselas was born in Baltimore, Maryland in 1948, studied at Harvard earning her MA in visual eduction, taught in the New York public school system and has worked as one of our most esteemed documentary photographers for close to 50 years. In 1976, she joined Magnum Photos and became a full member in 1980. Hosted on Acast. See acast.com/privacy for more information.

I got to Susan Meiselas’ Mott street studio a few minutes early and one of her assistants let me in to set up my gear. As I was waiting for her to arrive, I was leafing through a worn out first edition of Carnival Strippers, thinking to myself nervously, in that bout of anxiety before an interview - what are we going to even talk about that she’s gonna find interesting? The door clicked open she flew into the basement studio apologizing for a Magnum Foundation meeting running a few minutes late. She asked one of her assistants to prepare two cameras for some portraits of an old acquaintance she was going to do that evening an at the theatre, and rummaged through a couple manilla files looking for a note that she didn’t want to forget, and excused herself to shoot of a quick email. As soon as we sat down at the table and put the headphones on, though, her attention, in a split second, became so focused and engaged, as if none of the other million things she was working on or thinking about mattered. And that focus grabbed and threw me into this zone - my insecurities and preoccupations of what we were going to talk about dissipated in favour of an attention and curiosity in her.Susan Meiselas has spent her life going into situations and making such varied acquaintances with who she has photographed over time, from young teenage girls outside her home on Mott Street to women doing striptease at New England country fairs. She’s documented human rights issues in Nicaragua to the goings on of exclusive S and M club in New York called Panora’s box. Meeting people and making quick acquaintances is one thing, but then making good pictures in those situations is another. It requires a kind of focus - getting into a zone - that I saw so palpably when we got together.Meiselas was born in Baltimore, Maryland in 1948, studied at Harvard earning her MA in visual eduction, taught in the New York public school system and has worked as one of our most esteemed documentary photographers for close to 50 years. In 1976, she joined Magnum Photos and became a full member in 1980. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Mark McKnight

There is so much soul in Mark McKnight's dark, complex, psychological photographs, whether he's photographing the bodies of men he’s attracted to, still lives or landscapes, all which have a distinct relationship to one another.Just last week, Mark was awarded the very prestigious Aperture Portfolio Prize. I encourage you to go and read Brendan Embser’s write-up on Aperture’s site because he really hits the nail on the head with Marks work and introduces it so beautifully. Embser says:“ Mark McKnight is a modern-day modernist. His black-and-white photographs of skin and sand, brick and tar, with their rich tones and sparkling light, are redolent of twentieth-century masterworks, those pictures by men like Edward Weston who cast the world in silver-gelatin. Weston once said the camera should be used for recording the “quintessence of the thing itself, whether polished steel or palpitating flesh.” But for McKnight, who was born in Los Angeles to a New Mexican, Hispana-identified mother, something was missing from Weston’s vision. Something that would ignite a flame of recognition in a young queer man with ideas about male beauty more expansive than the Eurocentric standard. Something that would make “straight” photography a little less straight.”Mark and I got together at his studio in the Boyle Heights area of LA, where he showed me some recent stunning prints that he’d been labouring over in darkroom. We got to talking about another big part of his life - teaching - which he spoke about with the same enthusiasm and energy that comes through in his work. Hosted on Acast. See acast.com/privacy for more information.

There is so much soul in Mark McKnight's dark, complex, psychological photographs, whether he's photographing the bodies of men he’s attracted to, still lives or landscapes, all which have a distinct relationship to one another.Just last week, Mark was awarded the very prestigious <a href="https://aperture.org/blog/2019-portfolio-prize-mark-mcknight/" rel="noopener noreferrer nofollow" target="_blank">Aperture Portfolio Prize</a>. I encourage you to go and read Brendan Embser’s write-up on Aperture’s site because he really hits the nail on the head with Marks work and introduces it so beautifully. Embser says:“ Mark McKnight is a modern-day modernist. His black-and-white photographs of skin and sand, brick and tar, with their rich tones and sparkling light, are redolent of twentieth-century masterworks, those pictures by men like Edward Weston who cast the world in silver-gelatin. Weston once said the camera should be used for recording the “quintessence of the thing itself, whether polished steel or palpitating flesh.” But for McKnight, who was born in Los Angeles to a New Mexican, Hispana-identified mother, something was missing from Weston’s vision. Something that would ignite a flame of recognition in a young queer man with ideas about male beauty more expansive than the Eurocentric standard. Something that would make “straight” photography a little less straight.”Mark and I got together at his studio in the Boyle Heights area of LA, where he showed me some recent stunning prints that he’d been labouring over in darkroom. We got to talking about another big part of his life - teaching - which he spoke about with the same enthusiasm and energy that comes through in his work. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

John Edmonds

A friend recently told me that John Edmonds pictures of african American men in Do-Rags were the first photo's that had the power to completely change his perception. It reminded me of something which Dorothea Lange said, which was, “The camera is an instrument that teaches people how to see without a camera.”One can speak of Edmonds depictions of queer black masculinity in terms of their content and politics, but none of that would be transmittable if the photos themselves were’t so sensual, strikingly beautiful and full of mystery.John earned his MFA from Yale in 2016, and since, he has been commissioned by the New Yorker, has had work featured in Aperture and has shown with ltd. Los Angeles. He had a solo show in 2017 called Higher and another which is one right now called Tribe: Act One at their Lower East Side space which runs till May 31.When I went to meet John at his studio, there was just one print hanging on the white walls called Marcus with the Sacred Heart - a . I really loved that, especially just after learning that the late Peter Hujar would do the same at his house. Only one picture of his on the wall at a time. It obliges one to pay singular attention, to look hard, even for a brief moment. Hosted on Acast. See acast.com/privacy for more information.

A friend recently told me that John Edmonds pictures of african American men in Do-Rags were the first photo's that had the power to completely change his perception. It reminded me of something which Dorothea Lange said, which was, “The camera is an instrument that teaches people how to see without a camera.”One can speak of Edmonds depictions of queer black masculinity in terms of their content and politics, but none of that would be transmittable if the photos themselves were’t so sensual, strikingly beautiful and full of mystery.John earned his MFA from Yale in 2016, and since, he has been commissioned by the New Yorker, has had work featured in Aperture and has shown with ltd. Los Angeles. He had a solo show in 2017 called Higher and another which is one right now called Tribe: Act One at their Lower East Side space which runs till May 31.When I went to meet John at his studio, there was just one print hanging on the white walls called Marcus with the Sacred Heart - a . I really loved that, especially just after learning that the late Peter Hujar would do the same at his house. Only one picture of his on the wall at a time. It obliges one to pay singular attention, to look hard, even for a brief moment. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Teju Cole

Celebrated author, critic and photographer talks to Jordan Weitzman about his work as a critic, writing On Photogrpahy for the New York Times, and his new book of photos and Text, Blind Spot. Hosted on Acast. See acast.com/privacy for more information.

Celebrated author, critic and photographer talks to Jordan Weitzman about his work as a critic, writing On Photogrpahy for the New York Times, and his new book of photos and Text, Blind Spot. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Episode 13 | Teju Cole

Mary Frey

In the past two years, Mary Frey put out two new books - Reading Raymond Carver and Real Life Dramas. The first is made up of black and white work and the other, all color. Both bodies of work are in and around 35 years old and these were Frey’s first major publications of them. It wasn’t exactly as if she was unknown until now though. In fact, almost the inverse. She’s been a cult hero in photography circles for years and a beloved teacher at Hartford’s graduate program, where she taught until 2015.Frey earned her MFA at Yale and is a Guggenheim Fellow. Her work had been show at The Art Institute of Chicago, The Museum of Fine Arts in Houston and at MoMA to name a few. It was actually in the catalogue for a seminal show at MoMA called The Pleasures and Terrors of Domestic Comfort where I first discovered her work. I remember her pictures had everything that I was interested in photography in them - they were banal, yet mysterious moments out of the everyday, they were graphically compelling, such great color and they had a strange open ended quality to them, especially in their unusual pairings with curious texts that accompanied them.We got together at her studio in Longmeadow, MA to have this conversation.- Jordan Weitzman Hosted on Acast. See acast.com/privacy for more information.

In the past two years, Mary Frey put out two new books - Reading Raymond Carver and Real Life Dramas. The first is made up of black and white work and the other, all color. Both bodies of work are in and around 35 years old and these were Frey’s first major publications of them. It wasn’t exactly as if she was unknown until now though. In fact, almost the inverse. She’s been a cult hero in photography circles for years and a beloved teacher at Hartford’s graduate program, where she taught until 2015.Frey earned her MFA at Yale and is a Guggenheim Fellow. Her work had been show at The Art Institute of Chicago, The Museum of Fine Arts in Houston and at MoMA to name a few. It was actually in the catalogue for a seminal show at MoMA called The Pleasures and Terrors of Domestic Comfort where I first discovered her work. I remember her pictures had everything that I was interested in photography in them - they were banal, yet mysterious moments out of the everyday, they were graphically compelling, such great color and they had a strange open ended quality to them, especially in their unusual pairings with curious texts that accompanied them.We got together at her studio in Longmeadow, MA to have this conversation.- Jordan Weitzman Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Tim Davis

Jordan Weitzman meets Tim Davis at his studio in Tivoli, NY to discuss his practice as a photographer Hosted on Acast. See acast.com/privacy for more information.

Jordan Weitzman meets Tim Davis at his studio in Tivoli, NY to discuss his practice as a photographer Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Jordan Weitzman goes behind the scenes with Siobhán Bohnacker, senior photo editor at the New Yorker. Hosted on Acast. See acast.com/privacy for more information.

Jordan Weitzman goes behind the scenes with Siobhán Bohnacker, senior photo editor at the New Yorker. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

Siobhán Bohnacker

Farah Al Qasimi

Last month, I went to visit Farah Al Qasimi at her home and studio in Williamsburg. After talking with her, I thought about her space and how both her studio and her living area represented different parts of her in a way. Both very smart, both refined, but in different ways - the living space had an elegance and a lightness to it, while the studio had a sense of humour and playfulness. I took it a step further and then thought about how those rooms also reflect the different ways she photographs men and women, which we'll get into in this episodeFarah’s work explores issues of identity, beauty and surface in the United Arab Emerates. Her work puts into question the way people are represented and speaks to and plays with traditional genres of the medium such as portraiture. She grew up between the United States and Abu Dabi, and finally moved to the US when she enrolled at Yale. She enrolled in the music program at Yale, and only switched into the photography program in her third year after a couple inspiring classes.Her photos have been exhibited internationally, and last year, she had a solo show in NY last year called More Good New and published the book Body Shop. In addition to her practise as a photographer and a filmmaker, she teaches as well in the photography departments at RISD and NYU. Hosted on Acast. See acast.com/privacy for more information.

Last month, I went to visit Farah Al Qasimi at her home and studio in Williamsburg. After talking with her, I thought about her space and how both her studio and her living area represented different parts of her in a way. Both very smart, both refined, but in different ways - the living space had an elegance and a lightness to it, while the studio had a sense of humour and playfulness. I took it a step further and then thought about how those rooms also reflect the different ways she photographs men and women, which we'll get into in this episodeFarah’s work explores issues of identity, beauty and surface in the United Arab Emerates. Her work puts into question the way people are represented and speaks to and plays with traditional genres of the medium such as portraiture. She grew up between the United States and Abu Dabi, and finally moved to the US when she enrolled at Yale. She enrolled in the music program at Yale, and only switched into the photography program in her third year after a couple inspiring classes.Her photos have been exhibited internationally, and last year, she had a solo show in NY last year called More Good New and published the book Body Shop. In addition to her practise as a photographer and a filmmaker, she teaches as well in the photography departments at RISD and NYU. Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer nofollow" target="_blank">acast.com/privacy</a> for more information.

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