José Clemente Orozco in New England

    On the wall, just above double doors, in a narrow hallway connecting the Dartmouth College Baker Memorial Library lower-level reserve reading room with Carpenter Hall, is a seldom seen masterpiece. It bears the unwieldy title Man Released from the Mechanistic to the Creative Life. It is a test panel for what became the most ambitious

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    Thomas Hart Benton and America Today

    The “today” of Thomas Hart Benton’s 10-panel mural painting is pre-FDR, early Great Depression America of 1930-’31, a kaleidoscopic portrait of working people and their entertainments; their Moloch-like machines of production; the land’s bountiful crops and natural resources. It is peopled by New York City subway straphangers, cowboys in the West, steel-mill and coal workers

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    Sebastião Salgado, Part 2: Genesis

    Midway through a scene in the documentary The Spectre of Hope, Sebastião Salgado explains to John Berger that the near 350 photographs in Salgado’s book Migrations represent little more than one second of actual time. This is premised on an average exposure of about 1/250th of a second, yet Salgado says this single second of

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    12/29/2014

    Sebastião Salgado, Part 1: The Spectre of Hope

    During the seemingly endless wars and humanitarian crises of recent decades, some “conflict” photographers have been accused of exploiting their helpless subjects, of purveying “poverty porn.” Doubtless, there are NGOs and other aid organizations that have found photographs of starving children and displaced people to be useful tools in their fundraising. Much of this photographic genre

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