This morning we went to meet the people at the New Yorker. We met with Whitney Johnson, director of photography, who I first met when she was working with the Soros Foundation, Jessie Wender and James Pomerantz, a photographer who is also the author of A photo Student blog. His blog is a useful resource for those who would like to study photography but don't have access to a college course, a virtual photo MFA.
I did a small interview with Jessie for their Photo booth blog.
“The images are from my book ‘Fault Lines/Turkey/East/West,’ a look at a country that is at a political crossroads, with a number of fault lines at play, between modernity and tradition, secularism and Islamism, democracy and authoritarianism—often in unlikely and contradictory combinations,” Georgiou told me. “It was very important for me to allow space within the images, an openness or ambiguity, so the photographs can breathe.”
“In recent years there has been less documentary in the ‘New Photography’ show,” Georgiou said. “The genre is as valid today as it has ever been, and in many ways it plays to photography’s strengths, a representation and commentary of the world we live in and the emotional connection it allows for the viewer.”
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| Viewing Vanessa's Georgia book |
“The images are from my book ‘Fault Lines/Turkey/East/West,’ a look at a country that is at a political crossroads, with a number of fault lines at play, between modernity and tradition, secularism and Islamism, democracy and authoritarianism—often in unlikely and contradictory combinations,” Georgiou told me. “It was very important for me to allow space within the images, an openness or ambiguity, so the photographs can breathe.”
“In recent years there has been less documentary in the ‘New Photography’ show,” Georgiou said. “The genre is as valid today as it has ever been, and in many ways it plays to photography’s strengths, a representation and commentary of the world we live in and the emotional connection it allows for the viewer.”
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