This series visually traces the lives of Bombay’s disappearing single-screen cinema halls.
Old Pictures: United States 1900s-1930s
Blind girls operating telephone switchboard
Mine rescuer
Young oyster shuckers, Port Royal, S.C.
Joan Colom
"I didn't know I was doing social photography at that time. I just took photographs and went after pictures I found exciting. I’ve sometimes used the term to describe my work, but to me it just means I don’t do landscapes or still lifes. I work the street. I try, through my photographs, to be a kind of notary of an age."
― Joan Colom
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Tobacco Bag Stringing
What is Tobacco Bag Stringing?
In the late nineteenth and early twentieth centuries, families throughout the tobacco-growing regions of North Carolina and Virginia earned much-needed income by sewing drawstrings into cotton tobacco bags. Long forgotten today, tobacco bag stringing was a common activity in many communities. Because the labor was not physically demanding and could be done at home, the work attracted many women, children, and others who needed money to supplement their farm incomes, or who could not find work in nearby factories and mills.
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Katy Grannan
"I definitely did not want the series to be a parade of despair, nor am I interested in smiley happy people (family photo albums are already filled with those pictures – this has always irritated me). Each one of these photographs is like a short story and part of that narrative, of course, is the part where they’re working with me to make a photograph on the spot, right after we’ve met. The dynamic is different every time, but it’s almost always a lot of fun. People really get into it, and it requires a generosity and openness to be part of this process, to dance on the sidewalk in front of traffic, to wave at strangers honking. And I love the spirit of someone like the eighty year old woman who still wears bright lipstick and eyeliner – she deserves to feel gorgeous, and she is. Or the eighty year old man that handed me his business card that read ‘International Playboy.’ These are the people I want to know better. But of course, all of our histories are complex – there is disappointment, shame, loneliness, and there’s also joy. I want all of it to exist, messily and awkwardly, in the photographs. Because that’s life."
— Katy Grannan
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Stephen Shore
In a series of works from The Velvet Years, Shore spent time at Warhol’s Factory in the mid-1960s, and photographed what he saw. From practice sessions between members of the Velvet Underground, to Edie Sedgwick photo shoots, famous visitors, late-night parties and their aftermaths, Shore captured what was to become art history. The characters in the images are intimate and personable, the artifice of the spotlight shed in service of the utility of the everyday process of creating artwork. The seemingly instant compositions point to Shore’s later work, but aside from their value as archival documents, the images illustrate just how The Factory as a machine went on to inform the comprehensive view Shore would take of life becoming art.
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