Category: Art/Photography (Page 2 of 7)

Let’s Talk Jackson Guest Post: Willie’s House

This blog originally ran last year just before the release of Lemuria’s book Jackson: Photographs by Ken Murphy. We’ve been so grateful for the outpouring of love and hope for our great city that you’ve shared with us over the past year and a half; and we’re enormously proud of this book. Our hope is that every time you flip through its pages, you’re reminded of the Jackson you have loved, and join us in dreaming to achieve a great future for our home.

Written by Chris Ray

We always felt that the house chose us as much as we chose it. Carolyn and I had been to a couple of JoAnne’s parties, the last one being the celebration of the movie release of My Dog Skip after Willie died. I was always struck with how real their home felt, surrounded by genuine laughter, someone playing the piano, curiosities and ephemera, and of course, a library’s worth of books.

When JoAnne decided that the house was too big for her to keep up, I believe that she not only wanted to find someone to buy the house, but also to honor it. Which brings up an interesting challenge: how do you make a home yours, while honoring those who came before you?

We’ve tried to do both – and I think that Willie would be happy to see that the cats from the neighborhood still hang out in the crawl space. Curious literary fans still drive by slowly. There are dozens of assorted balls and sports gear scattered about the house, garage, and yard. In fact, our son John keeps a collection of baseballs in the same small closet where Willie kept his. And the books, my gosh, the books. They are everywhere.

We have Willie’s highway map of Yazoo County framed upstairs and a photo downstairs of Willie taken by his son, David Rae. And every now and then, we will find some odd treasure that Willie had hidden or misplaced. I think Willie would like the fact that our neighbors, Governor Winter and Dick Molpus, still tell Willie stories every time we see them. Dick told me recently that Willie would walk down to his house every Christmas to say hello as part of his “once-a-year exercise.”

But I don’t think Willie would want his former home to be a shrine. Or something too precious. I think he would appreciate that the paint is peeling here and there and there’s a patch where we just can’t get grass to grow. I think he’d be happy to see it alive, with the same kind of love and laughter that you felt and heard when he lived there.

To order a copy of Jackson: photographs by Ken Murphy , call Lemuria Books at 601.366.7619 or order online here

Let’s Talk Jackson Guest Post: My dream of reliving the Farish Street of my youth

This blog originally ran last year just before the release of Lemuria’s book Jackson: Photographs by Ken Murphy. We’ve been so grateful for the outpouring of love and hope for our great city that you’ve shared with us over the past year and a half; and we’re enormously proud of this book. Our hope is that every time you flip through its pages, you’re reminded of the Jackson you have loved, and join us in dreaming to achieve a great future for our home.

Written by Jimmie E. Gates, political writer/columnist at The Clarion-Ledger

When I was in my teens, one of my biggest thrills was coming to Farish Street in downtown Jackson.

It was the sight and sounds of a hustling mecca of black life. There were snappy dressed females with their hats. There were men dressed in classy suits, which made you think of The Apollo Theater or the old Cotton Club in Harlem. We had our Crystal Place on Farish Street, and for good measure, we had our Alamo Theater, which was a movie theater. I will never forget going to the Alamo Theater to watch Bruce Lee movies, Godzilla versus the Three-Headed Monster, and most of all watching actress Pam Grier in films.

Those were the days for me growing up. Farish Street was like a whole new world to me. There would be Mr. Armstrong selling Jet Magazines on Farish Street and vendors selling roasted peanuts in small bags and other items. The shoe shine guy, “Bear Trap,” would stay busy; there was a bakery/donut shop, but my favorite was the ice cream plant. Whenever we would be on Farish Street, we would always go by the ice cream plant. The ice cream man, whose name escapes me today, would give us ice cream bars. He would always be dressed in a white uniform and wearing a hat to match.

We would always come to Farish Street and shop. Although Farish Street was the mecca of black life in the 60s and 70s, many of the clothing stores and shoe stores were Jewish-owned.

I will never forget my Farish Street days. I don’t know when Farish Street began to deteriorate, but it probably occurred after the first mall opened in the city. Jackson Mall opened in 1969 followed by  Metrocenter in 1978. Farish Street stores and other stores began to leave the downtown area for the malls.

We longed for the bygone days of our youths; sometimes wondering if we can recreate those years.

I pass the empty shell of the buildings lining Farish Street today wondering if the hustle and bustle of the street will ever live again.

Decades have gone by since Farish Street was the place to go. There have been talk about reclaiming the area as an entertainment district, but the talk hasn’t materialized into returning Farish Street to its heydays.

I know others have their own fond memories of places and things in Jackson that were once special to them. Farish Street was that place for me.

There was a song by the late Luther Vandross  called “Dance With My Father” that was one of my favorites. The lyrics were based upon Vandross’ childhood  memories of  his late father and mother often dancing together. Vandross knew his dream could never come true when he wrote the song because his father was deceased. We all have our dreams; the dreams that would make us happy. Seeing Farish Street alive again with life and vitality would be a dream come true for me.

 

Ken Murphy will be joining us in the store all day today (December 23) and will be signing copies of all of his books!

Gifting the Perfect Book: Students of the Human Condition

by Abbie Walker

Jacket (1)It seems impossible to be able to capture what it is to be human, but Brandon Stanton has come pretty darn close.

What started back in 2010 as one man trying to take a photographic census of the city of New York has now become an extremely successful blog with millions of followers. Humans of New York, Stanton’s first book published in 2013, is comprised solely of photographs that portray the diversity of those living in the Big Apple.

Humans of New York: Stories is the highly-demanded continuation of this project that came out in October 2015. Armed with a camera and a knack for interviewing, Stanton uncovers more about the people living in the various boroughs through photographs and accompanying quotes.

From little kids talking about their day and couples discussing their relationships, to men and women battling mental illness or dealing with loss, each story is unique and engaging; and not only paints a bigger picture of the variety of people living in New York, but also reveals how we are all similar at our core.

I absolutely love HONY, particularly the quotes, so this book sucked me in from start to finish. Even in its simplicity, there is a heart-wrenching honesty that comes from the people who are featured. I smiled. I laughed. I cried. Many of the stories are so raw and vulnerable that they straight-up punched me in the gut.

Not only are the stories deeply moving, but the photographs are also incredibly stunning. Each piece flows smoothly to the next, and I couldn’t stop flipping the pages; it makes for a great coffee table book.

What I love the most about HONY is Stanton’s ability to make you stop and really think about people. He takes prejudices and stereotypes and shoves them back in your face. From joy and celebrations to heartache and pain, the rich stories from everyday people (and even a few well-known faces) ultimately show how we are all connected despite our differences. Each page gives you a broader understanding of how every person has their own baggage they’re carrying, their own dreams they’re pursuing, and their own battle they’re fighting.

I really appreciate how Stanton has given people, who may not have a chance to have their voices heard, a platform to share their stories. Though this is a book filled with numerous faces, Stanton still manages to convey that no one can be summed up in a photo or a line of text—their stories extend beyond the page. I’m interested to see what this project will evolve into next. I recommend Humans of New York: Stories to anyone in need of an impressive photography book or a quick read that will get you thinking.

Why Maude Schuyler Clay’s ‘Mississippi History’ is Breathtaking

Jacket (1)Maude Schuyler Clay has a new photography book. On a whim, I decided to flip through its pages because I do love a good coffee table book. Looking at these photos, I felt goose bumps; as someone who appreciates art, and the intricacies that are often involved in the history of art, this collection of photographs feels both intimate and timeless. And as there has been a bent and focus on the Delta recently (Richard Grant’s Dispatches of Pluto, an incredible outsider’s view of Mississippi), the sense of place in these photos counterbalanced Grant’s book and is clearly an insider’s view of Mississippi.

At first, I did not know that these people, or subjects of the photographs, were Clay’s own family and friends. But every time I would see a character’s name appear in a different photograph, in a different time, in a different location, I felt a jolt of recognition, a connection with that person who I had also seen several pages back.

What I love about this collection is that it is not chronological. Pictures of her children at twelve appear before pictures of her children when they are toddlers. And because of this repetition, the people in these photographs aren’t just subjects, but characters, part of a story. Clay could have easily called this book “My Mississippi History.” But it wouldn’t have retained the same mysteriousness; it was only after reading the closing words at the end of the book that I learned these people were her own children and family—after all, there are pictures of them in the bathtub, and on Christmas morning. Where else would the photographer be on Christmas morning than at home with her family?

The ambiguity with which the photographs are arranged and presented allows the viewers to place themselves in that moment, to recognize a piece of themselves in Mississippi History. The photographs were taken over the past three decades, so I also loved guessing when the photographs were shot. Some are clearly recent; “Mr. Biggers” has Apple earbuds in his ears as he stands with fresh greens in his hand. Some are unmistakably from the 70s. My favorite picture is of “Anna as Heidi.” All of the photographs are gorgeously artistic and intimate. The majority of these photos are of children, especially Clay’s own children in different stages of their lives, so the photographs have a very evident “mother’s eye-view” in them, a look at what a real Mississippi mother truly sees.

Today, anyone can take a picture on Instagram, put a fancy filter on it and call themselves a “photographer.” Clay shows that she is a genius in the art of photography, and has been using light and shadows in nature to create those illusive filters we place on photographs today.

Flipping through the pages of Mississippi History feels like flipping through a good friend’s photo album. It is the perfect gift for that person who loves to take pictures of their children, and also perfect for anyone who has grown up here in the Magnolia State.

 

Join us on Thursday, December 17 at 5:00 for a signing event for Mississippi History! 

Collecting Barry Moser

appalachia“Appalachia: The Voices of Sleeping Birds” by Cynthia Rylant, Illustrations by Barry Moser. Harcourt Brace Jovanovich, 1991.

In “Appalachia: The Voices of Sleeping Birds” by Cynthia Rylant, life is hard but it is also sweet. Rylant’s Appalachia is a land of coal miners, small churches, country dogs, dirt roads, homemade quilts, and cotton dresses. She communicates the rhythm of Appalachian life in her picture book for the young and old:

“In the summer many of the women like to can. It seems their season. They sit on kitchen chairs on back porches and they talk of their lives while they snap beans or cut up cucumbers for pickling. It is a good way for them to catch up on things and to have time together, alone, for neither the children nor the men come around much when there is canning going on.”

Cynthia Rylant, a Caldecott and Newbery award-winning author, writes about where she grew up in West, Virginia. Her young life was not unfamiliar to Barry Moser, the book’s illustrator. Moser, a native of Chattanooga, Tennessee, is a printmaker, a designer, author, essayist, and teacher. He is well-known for his fully illustrated Bible published in 1999, by his own Pennyroyal Press which has designed some of the most beautiful modern limited editions of the twentieth century.

Moser’s paintings and prints have graced such classic stories and poetry as “The Adventures of Brer Rabbit,” “The Wonderful Wizard of Oz,” “The Legend of Sleepy Hollow,” and “The Tales of Edgar Allen Poe,” but he has also worked with many modern children’s books authors.

Moser’s paintings that accompany Rylant’s text were inspired by Ben Shahn, Walker Evans, Marion Post Walcott, and Dorothea Lange. The subjects in the paintings are simple and direct. The gaze of the coal miner shows a man with few choices in life—his father and grandfather were coal miners, too. The sweetness of life is there, too, as in the opening quote from James Agee, a nod to his own family in Knoxville, Tennessee:

“The stars are wide and alive, they seem like a smile of great sweetness, and they seem very near. All my people are larger bodies than mine, quiet, with voices gentle and meaningless like the voices of sleeping birds . . .”

 

Original to the Clarion-Ledger

See more of Barry Moser’s books here.

Hold Still by Sally Mann

If you don’t know who Sally Mann is, that’s okay. But, you may want to get to know her. I didn’t know exactly who she was either, I only remembered her most famous photograph of her three children. Maybe this one rings a bell?

unnamed (3)

 

 

She’s pretty well-known for her large-scale black and white photographs, and her second book of photography “Immediate Family”—filled with photos of her (mostly un-clothed) young children. Yes, she got quite a bit of backlash due to this, but hey, it’s her children and her life. Sally said it best when describing how she takes photographs and what that might cost her: “To be able to take my pictures I have to look, all the time, at the people and places I care about. And I must do so with both warm ardour and cool appraisal, with the passions of both eye and heart, but in that ardent heart there must also be a splinter of ice.”

unnamed (2)Mann’s new book, Hold Still is not just a photography book, she has let us step into her life by making this book her memoir. I’ve always enjoyed photography, and I’m not going to lie, at first I only picked this book up in the store to flip through the photos. I was told that she had been to a “body farm” and taken photos of the human body’s stages of decomposition and damn, she really did (yes, I’m the gross kid that thinks that stuff is cool, sorry about it). This book is filled with photos from the birth of one of her children to photos of family relics. All of which are intriguing and beautifully done.

While the photography is great (trust me, it is), I really stuck around for her writing. I picked this book up while I was working, and didn’t want to put it down. I literally had to, because…you know, work comes first. But! I knew I had to buy this book. Reading the pages in this book will make you feel like Sally Mann is sitting right next to you joking and telling you her life story. Her wit is perfect, it sucked me right in. She’s a bit of an odd-ball, but aren’t we all? I think that’s what truly makes this feel like your best friend is telling you a story, instead of you reading a book.

This books the best of both worlds for me (and hopefully you!). The photography is beautiful and her writing makes me wish I had grown up right next door to her in Virginia in the 1960s.

The Great Migration

The Great Migration by Jacob Lawrence. New York: Harper Collins / The Museum of Modern Art & The Phillips Collection, 1993. 
jacob lawrenceJacob Lawrence was not your typical painter. He often spent months at a branch of the New York Public Library, taking notes from journals and books and other documents before he would began work on a formal painting project. Lawrence wanted his art to teach history to his people. In describing his research efforts for The Great Migration, Lawrence remarked:

“Having no Negro history makes the Negro people feel inferior to the rest of the world . . . I didn’t do it just as a historical thing, but because these things tie up with the Negro today.”

Jacob Lawrence’s family was a family of migration. His mother and father had left the South for New Jersey where Jacob was born in 1917. Jacob ended up in Harlem at the age of 13. His mother and art teachers saw his talent at a young age, and eventually his talent earned him a position in the WPA program which provided the first artistic opportunities for many black artists like him. After Lawrence’s position at the WPA ended, he applied for a grant from the Julius Rosenwald Fund (of Sears & Roebuck) and cited his unusual research needs as a painter in the application. He asked for six months of research time before he began painting the Great Migration series.

The Great Migration consisted of 60 small tempera paintings depicting the mass migration of African Americans from the South to the North after World War I. The paintings were accompanied by captions which showed the influence of modern media: the rise of graphic illustration in mechanically produced magazines and photo books. The photo book with accompanying text was a popular genre following the Great Depression.
12 million black voices FEMany New Deal programs were designed to document rural America through oral-history projects and photography series.
Well-known photo books from this era include: Erskine Caldwell’s and Margaret Bourke-White’s “You Have Seen Their Faces” (1937); Dorothea Lange’s and Paul Taylor’s “American Exodus” (1939); “12 Million Black Voices” by Richard Wright (1941); and James Agee’s and Walker Evans’s “Let Us Now Praise Famous Men” (1941).

Lawrence chose this same format—he only altered the format with his striking paintings. In 1941, the enlarged photographs from “12 Million Black Voices” with text by Richard Wright were chosen to accompany Lawrence’s Great Migration panels on a 15-city tour.
jacob lawrenceIn 1993, the Museum of Modern Art (MoMA) and the Phillips Art Collection released a signed limited edition book of 100 copies of The Great Migration with all 60 panels and captions.
In 2015, MoMA and Phillips released a new book, “Jacob Lawrence: The Migration Series,” following a 2014 exhibition celebrating the artist’s life and work.

Written by Lisa Newman,  A version of this column was published in The Clarion-Ledger’s Sunday Mississippi Books page.

Elizabeth Spencer & Walter Anderson Paired

“On the Gulf” by Elizabeth Spencer with the art of Walter Anderson. Jackson, MS: University Press of Mississippi, 1991.

“If I could have one part of the world back to the way it used to be, I would not choose Dresden before the fire bombing, Rome before Nero, or London before the Blitz. I would not resurrect Babylon, Carthage or San Francisco. Let the leaning tower lean and the hanging gardens hang. I want the Mississippi Gulf Coast back as it was before Hurricane Camille.”

This quote comes from Elizabeth Spencer’s Introduction to her collection of short stories “On the Gulf,” and her feelings might seem even more timely today when we think of the loss suffered from Hurricane Katrina. “On the Gulf” was published as part of the University Press of Mississippi’s Author and Artist Series in 1991. All six stories in “On the Gulf” are set along the Gulf of Mexico and the lives of women take center stage from New Orleans to Ship Island to Florida.
on the gulf by elizabeth spencerAll of the stories had been previously published, but Spencer found this republication particularly appealing when the press suggested that her stories be paired with the art of the late Walter Anderson. Every page has a banner heading of Anderson’s art work and each story has multiple full-page black-and-white drawings from Anderson. In her many recollections of the coast in her opening essay, Spencer remembered Walter Anderson: “He seemed, like the Lord God before him, to be creating every day, fish, fowl, plants, flowers, trees, sea and air . . .”

Several other books in the Mississippi Author and Artist series have become as collectible as “On the Gulf.” Here is a list of some early publications—and note the care the press took pairing our great Mississippi authors and artists.


morgana“Morgana” by Eudora Welty with the art of Mildred Nungester Wolfe (1988) includes two stories from Welty’s “Golden Apples.

“Black Cloud, White Cloud” by Ellen Douglas with the art of Elizabeth Wolfe (1989) is Douglas’s only collection of short fiction.

“Homecomings” by Willie Morris with the art of William Dunlap (1989) features Morris’s reflections on the meaning of home.

“The Debutante Ball” by Beth Henley with the art of Lynn Green Root (1989) presents the Pulitzer-prize winning playwright’s work in a new light.

“After All It’s Only a Game” by Willie Morris also with the art of Lynn Green Root (1992) includes fiction and nonfiction on basketball, baseball, and football.

The Author and Artist series was issued in both trade and limited edition series. The trade editions were large format hardbacks with decorative dust jackets, and book lovers might have had the opportunity to have them signed by author and artist. The limited editions were printed in limited number and signed by the author and artist, bound in cloth, and housed in a protective slipcase.

Written by Lisa Newman,  A version of this column was published in The Clarion-Ledger’s Sunday Mississippi Books page.

Vivian Maier and the Art of Taking Pictures of Strangers

As you may remember, I’m currently enrolled at Millsaps College, which means homework––endless stacks of homework. Oh, the piles. Luckily it’s not all math or science, I’m also taking a photography class.

In said class, I was assigned to choose a photographer to riff for a presentation. I went with Vivian Maier since I love black and white photography. Here’s the thing though, she takes pictures of complete strangers. Now, photography is hard; and creeping on strangers for street photography is weird, but I did what I had to. Luckily, Adie tagged along on one of my ventures in Fondren, which made the experience more fun.

dsf

Photograph by Adie Smith

 

Vivian’s stuff’s great. You should come take a look at her books: Vivian Maier Street Photographer, Vivian Maier A Photographer Found, and Vivian Maier: Self Portraits. Someone has also made a documentary about her because she is the bee’s knees right now; but that’s what happens when never-before seen photography is found in a random storage facility. Mystery. Intrigue. All that jazz.

Personally, I’m interested in how a few of the children she nannied helped take care of her financially once they were old enough; but that’s just me. If you’d like to know more about her, then you should give her some time and take a look at her work- learn her story. Or not, whatever, deprive yourself of the finer things in life; it’s completely your choice.

ewt

Photograph by Elizabeth Parkes

The Artwork of Lucia Joyce

 

mime of nick with glassine cover“The Mime of Mick, Nick and the Maggies” by James Joyce. The Hague, Holland: Servire Press / New York: Gotham Book Mart, 1934.

James Joyce was an Irish novelist and poet recognized for his novels “Ulysses,” “Finnegans Wake,” “A Portrait of the Artist as a Young Man” and his short story collection “Dubliners.” “Ulysses,” considered to be one of the most important works of modernist literature, is a long, complex novel. Joyce was utterly exhausted when he finished writing it in 1921. After taking a couple of years off, he began writing a very experimental work entitled “Work In Progress.” Eventually, Joyce began serially publishing “Work In Progress” in a literary magazine called Transition. Over the next 17 years, “Work In Progress” grew in length and complexity but the critical reception of it was largely negative; it was criticized for its lexical impossibility and its imperceptible plot. Eventually, the work was published in book form by Viking Press in 1939 under the title “Finnegans Wake.”

lucia joyce

During the 1930s Joyce’s daughter Lucia, a dancer who had been a student of Isadora Duncan, began suffering from mental illness. Joyce wanted desperately to find her some relief and a new artistic outlet to replace dance since she had been institutionalized. He offered her the opportunity to illustrate a fragment of “Finnegans Wake” called “The Mime of Mick, Nick and the Maggies.” With a limited printing of 1000 copies, “The Mime” was published on Old Antique Dutch Paper and features a metallic and color cover, initial capital and tail-piece design by Lucia Joyce.

Finnegans Wake” is not tackled by most of the reading public but is still admired by scholars for its linguistic inventiveness. The work is enjoyed most by those who do not take it too seriously, by those who see its inherent playfulness and laugh-out-loud wit. Readers also should not get lost in understanding everything about the “Wake”; Joyce himself advised readers to find what they know in the work:

“You are not Irish and the meaning of some passages will perhaps escape you. But you are Catholic, so you will recognize this and that allusion. You don’t play cricket; this word may mean nothing to you. But you are a musician, so you will feel at ease with this passage. When my friends come to Paris, it is not the philosophical subtleties of the book that amuse them, but my recollection of O’Connell’s top hat.”

Written by Lisa Newman,  A version of this column was published in The Clarion-Ledger’s Sunday Mississippi Books page.

Page 2 of 7

Powered by WordPress & Theme by Anders Norén