Kerry Stuart Coppin Interpretive Photography / Urban Africa and the Diaspora

 
 
Senegal
SENEGAL
2001
SENEGAL
Africa in RI_5
AFRICA IN RI
 
 
 
Barbados
BARBADOS
Egypt
KEMET
La Habana de Cuba
LA HABANA
 
 
 
Salvador, Bahia / Brasil
BRASIL
Black Men Learning to Fly
LEARNING TO FLY
2001
EUROPA
 
 
 
Penumbra.jpg
PENUMBRA
Kansas
KANSAS
Hawaii
HAWAII
 
 
 
Tortola, BVI
TORTOLA
Big Cock / Charlotte Amalie, St. Thomas
ST. THOMAS






"Better to write for yourself and have no public, than to write for the public and have no self . . ."

- Cyril Connolly


“When you live by challenging reality, when you don’t accept the norms and values of the people to whom you must relate, you do become unpopular. You may have a different story, a different vision to affirm. You may not wish to be adversarial, but, at best, you end up being marginalized. That is the cost of living a life of protest . . .”

- Judy Wyatt / introduction to Chauncey Hare “Protest Photographs” / 2009


"He thought of photography as a way of preserving segments out of time itself, without regard for the conventional structures of picture building. Nothing was to be imposed on experience; the truth was to be discovered, not constructed . . .

As Evans remembers his thought of the time, he wanted his work to be 'literate, authoritative, transcendent.' The photographer must define his subject with an educated awareness of what it is and what it means; he must describe it with such simplicity and sureness that the result seems an unchallengeable fact, not merely the record of a photographer's opinion; yet the picture itself should possess a taut athletic grace, an inherent structure, that gives it a life in metaphor . . .

- John Szarkowski / introduction to "Walker Evans" / Museum of Modern Art / 1971


 

 

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