Artist Photographs Her Family’s Vintage Slides in New Locales

“Bathing Beauty”

“These little vignettes of family life in my current ‘space’ comfort me that [my mom] and others are still near, watching over me.”


Many people collect old photographs for their nostalgic qualities. These images offer windows into special moments in time, immortalized in c-prints. Artist Catherine Panebianco used her family’s collection of personal vintage slides in an introspective photography series entitled No Memory is Ever Alone. Through it, she connects her parents’ lives with her own by placing the old slides in front of locations where she resides now.


Most of the images from the series feature Panebianco’s mother and father in an array of different landscapes—from forests and lakes to interior scenes. “No Memory is Ever Alone is a visual conversation between my dad and me,” the artist tells My Modern Met. “He used to bring out a box of slides that he photographed in his late teens and early 20s every Christmas and made us view them on an old projector on our living room wall telling the same stories every year. It was a consistent memory from a childhood where we moved a lot and I never felt like I had a steady ‘place’ to live and create memories.”

“I realized that by placing the slides in my current landscape, I created not only a connection between his life and mine but a trail of memories, each that had its own association for both of us,” Panebianco explains. To do this, she sought places where she currently lives in Jamestown, New York, that resemble the locations depicted in her family’s slides. Many of these matchups result in an uncanny likeness between her parents’ past and Panebianco’s present.[…]


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Tuba Skinny – “Going Back Home” – Royal St. -*Tip the band at More at Digitalalexa

Tuba Skinny plays “Going Back Home” on Royal St. -4/16/12

Erika Lewis – vocals
Todd Burdick- Tuba
Shaye Cohn – Cornet
Barnabus Jones – Trombone
Robin Rapuzzi – Washboard
John Doyle – Sax
Sam Doores – Bass Drum

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Gordon Parks: Part One | 1 July – 8 August 2020 – Overview

Gordon Parks, Untitled, Alabama, 1956. © The Gordon Parks Foundation


Due to overwhelming visitor interest in Gordon Parks: Part One, we are extending the exhibition through Saturday 8 August.


Originally scheduled to open in March this year, Alison Jacques Gallery presents a two-part exhibition of works by the pioneering American photographer Gordon Parks (1912-2006), in collaboration with The Gordon Parks Foundation. This exhibition is the first solo show of Parks’ work to be held in London for over twenty-five years. Part One opens in July 2020, with Part Two following in September 2020.

Born into poverty and segregation in Fort Scott, Kansas, Gordon Parks was a humanitarian with a deep and life-long commitment to social justice. He rapidly developed a deeply personal style of photography with a focus on race relations, poverty, civil rights and urban life. Parks left behind an exceptional body of work; a legacy that documented American culture and everyday life from the early 1940s to the 2000s, with achievements encompassing writing (fiction and nonfiction), composing, and filmmaking, having directed several feature films, including Shaft (1971).

He created some of his most pivotal pictures at Life magazine during his two-decade tenure at the internationally renowned news magazine. From 1948, Parks contributed unique photo-essays that explored race relations, social justice, civil rights and urban life.

Gordon Parks: Part One focuses on two defining stories, Segregation in the South (1956) and Black Muslims (1963), both of which initially appeared in Life magazine. This period formed a critical moment in Parks’ career, coinciding with the burgeoning civil rights movement. The visionary images that constitute both these series offered visibility to often marginalised, anonymous families and misrepresented figures in American society at large. Parks’ interest in taking photographs stemmed from a desire to create meaningful change. As he commented, “I saw that the camera could be a weapon against poverty, against racism, against all sorts of social wrongs”.

Often spending weeks at a time on location, the value Parks placed on forming relationships with his subjects was immense. The artist’s intimate photographs revolutionized conventional depictions of those he portrayed.

Parks’ Segregation in the South chronicles racial division in 1950s Alabama. Standing apart from the civil rights photography of this period, which often focused on violence and brutality, Parks chose to illustrate this bleak time through affirmative images of community life.[…]

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Summary of Mary Warner Marien’s Essay on Charles Nègre’s Chimney Sweep Walking.

Chimney Sweep Walking, Nègre, Charles, 1851

The essay initially starts with a discussion on what were seen in 1839 as the strengths and weaknesses of photography and its limitations as an art form at the time. she mentions that Negre was a painter as well as a photographer and tells us that his interest was in making photography not just about realism and exact naturalism, but to take a more artistic and painterly approach, to experiment with shape, abstaction, pattern and tone.

She relates how under his painting tutorage under Paul Delaroche, gave Negre the confidence to try and relate painting technique to photographic technique, and how this led to him using the mediums of both formal art and photography to produce his best work. Using standard and traditional stock figures as a basis, he would use the underclass/ working class people of Paris to depict his scenes.

She then relates the historical context of using the chimney sweep in recently industrialised towns and cities, and the area in which the picture was taken, and also writes about how the technical limitations of the time may have determined a certain amount of composition, and then about the controlled ideas of the composition itself, the appaerance of movement, the shadowing of faces, the imagined or implied relationship between the sweeps themselves.[…]

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10 Street Photographers EVERY Photographer MUST Know

Street photography combines the improvisational act of capturing life as hit happens combined with the nostalgia and visual aesthetic that’s like no other style of photography. I haven’t done one of these kinds of videos in a while so I thought it would be fun to do an overview of who I feel the essentials are for me.

Henri Cartier-Bresson, W. Eugene Smith, Robert Frank and Saul Leiter are all probably names you know. But how about Charles Nègre, Kamoinge, Ted Cronner, Louis Farurer?

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Paris’s Newest Major Museum Is Dedicated to Henri Cartier-Bresson | Architectural Digest

Henri Cartier-Bresson in Brie, France, 1968


Henri Cartier-Bresson—who photographed Marilyn Monroe, Pablo Picasso, and Le Corbusier—has his namesake museum opening in the bustling Marais district

The Marais is a lively district in Paris, filled with busy cafés and bars. But one quiet street called Rue des Archives just became the new home for the heart of modern photography. The Henri Cartier-Bresson Foundation has relocated from the city’s far-flung district of Montparnasse into this central district in the Right Bank. This brand new museum, boasting 2,500 square-feet of exhibition space, opens to the public this week. “It’s a way to bring the art to the people who don’t live in Paris,” says François Hébel, the director of the Henri Cartier-Bresson Foundation. “We wanted to make it in the heart of the city for people come to Paris for a few days and don’t necessarily have the time come to the outer area where we were before.”

Set along what Hébel calls the “museum mile” of Paris, the foundation’s new location is within walking distance of some of the city’s most iconic art museums, from the Picasso Museum to the Louvre and the Pompidou. He refers to its former space as a “shoebox,” which had half the size of this new gallery, a space that has moving walls and high ceilings. “It wasn’t big enough anymore; we had to update our venue,” Hébel says.

Actress Marilyn Monroe in 1960.
Photo: Henri Cartier-Bresson

Located within a charming 18th-century courtyard, this white box labyrinth is outfitted with aluminum beams and glass walls. Designed by the firm NOVO Architects, which has a flair for simplicity, the building is so minimal, one might mistake it as a homage to the Bauhaus. Built entirely from scratch, its sleek beauty is all in the details—from the polished black concrete floors to its shiny steel walls.

The exterior of the newest museum in Paris, which is dedicated to Henri Cartier-Bresson.
Photo: Cyrille Weiner

Strangely, this building used to be a four-floor parking garage, of all things. “We had to destroy first two floors of the car ramp and rebuild them from the ground up,” says Hébel. “We wanted the building design to be elegant and modest, which was the idea of Cartier-Bresson’s foundation.”[…]

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Sci-Fi Short Film: “It’s About Time!” | DUST

A young man’s night takes an eventful turn after a mysterious object appears in his backyard.

It’s About Time! by Isaac Carlton

Follow the Filmmaker:…

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7 Egg Dishes, From Octopus Eggs to Ostrich Eggs | Around the World

Not one chicken egg was cracked open in the making of the latest episode of “Around the World.” Instead, Great Big Story senior producer/egg connoisseur Beryl Shereshewsky talked to seven people in seven countries to find out what other kinds of eggs they like and how they make them. In South Africa, massive ostrich eggs are what’s for breakfast, and they’re hard to crack. Teeny, tiny, juicy snail eggs are an expensive treat in France. In Japan, octopus eggs are a delicacy, and duck eggs are the main ingredient in a yummy tea in Indonesia.

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The Uplift | SwissMiss

The world needs more poetic humans like Tom Lawton. He is the creator of Uplift, a solar-powered sculpture designed to soothe the soul that’s made from waste fishing nets.

Source: The Uplift

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à la fin…

Here is a film I started a year ago.
It’s not a commissioned work, it’s neither fiction nor animation, the graphic style is rather singular. It’s a moment of introspection, very intimate, staged through a succession of small moments imbued with poetry, absurdity and sometimes surrealism…

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