I haven’t written a Trump column in months.
I was going on about him weekly, for quite some time, so I decided to take a break. It seemed healthy, as this is not, in fact, a politics blog.
Rather, aPE is about photography, so I decided that #247Trump was not appropriate.
But it’s been a while, and this being the dog days of August, when most of you are on vacation anyway, it seems like the right time to exercise my First Amendment rights. (While I still have them.)
Now that I’ve given myself permission, though, the words don’t flow as easily as I expected. I feel like the Monty Python guy, who couldn’t eat another bite, because it really has been absurdity-overload lately.
I was discussing it with my Dad the other day, and we agreed that while the national crisis may have been bigger during the Nixon 70’s, with crazy protests and riots, the Trump political scandal is far worse.
I’ve got a good memory, and even I can’t keep all these daily dramas straight.
But here are a few.
The President’s chosen communications director sought an on-the-record interview with The New Yorker, for crying out loud, and then said, of the President’s chief strategist, that he likes to fellate himself.
Oh, and he also threatened to kill the President’s Chief of Staff. (Who was subsequently fired post haste.)
Ironically, the Mooch was out before his paperwork was filed. (And before godsend Mario Cantone could franchise this impression.)
Oh, right, there was that Trump Jr/Jared Kushner meeting with Russian spies who offered dirt on Hillary Clinton, after their government had stolen a trove of her campaign’s emails.
And Donald Sr started Tweeting about her emails the same day.
This, and so much more, has unfolded in the press while a non-partisan former FBI director looks carefully into the President’s shady-Russian-Mafia connections.
At one point this winter, as my mother likes to remind me, I said it all resembles “House of Cards” + “The Americans,” and that seems to get truer each day.
The stuff Netflix and FOX made up as dramatic fantasy is actually no less salacious, at this point, than the Real.Fucking.Thing.
Welcome to August of 2017.
As I wrote here last year, I had my first premonition things might go awry when I was in Los Angeles in late October, and watched the 3rd Presidential debate at a theater in the Hammer Museum at UCLA.
“Not a puppet, not a puppet, you’re the puppet” drew laughter like we were watching “Chapelle’s Show.” Trump read as entertainment, to us, and he was damn entertaining.
But we were in literally the bluest bubble in America, and I felt uncomfortable with the elephant in the room: that millions of our fellow countrymen took him seriously, and agreed with many of the deranged things he said.
Now, just minutes ago, I read on CNN that Sarah Huckabee Sanders, the President’s own spokesperson, was forced to admit that Trump had told untruths about two things. (He said he’d received phone calls that he had not.)
But she shied away from the word “lied,” because she felt it was too harsh.
Yes, that trip to LA gave my spider sense the tingles, but when I returned a couple of weeks ago, 6 months into the shitshow that is Trump’s presidency, few people were talking about him.
It’s almost like he’s Voldemort for many of us. Keep your head down, and hope it ends before he kills us all. (North Korea can now reach LA with a nuke, they say.)
I didn’t talk much Trump in Los Angeles, but I did see a lot of photography. I don’t have the exact number, but I saw at least 25 projects at the LACP Exposure portfolio review, and am glad to show you the best work I saw.
I liked Lisa McCord immediately, as she seemed honest in a way I connect with. She showed me some work from the early 80’s, done on her family’s tenant farm in Arkansas.
Basically, Lisa said she’d felt more comfortable with the African-Americans who worked on the farm than she did with her people, who owned the place. So she hung out a lot, including with the Nanny who raised her, and people let her make pictures, because they knew and trusted her.
Images like this are seen as fraught these days, with so much tension around racism and white privilege. It’s hard not to see them as controversial, yet I sometimes think that says more about us than the pictures themselves.
Because if we take Lisa at her word, that these were her friends, more like family, than there’s nothing radical about the pictures save the color of everyone’s skin.
Dawn Watson had landscape photos in which she’d inverted the tonal curves in Photoshop, so the colors were reversed. I’ve seen similar projects, and told her about Adriene Hughes work we published here last year.
But I think showing digital’s unmistakeable hand can be a sound visual strategy, and I liked several of these pictures a lot. I told Dawn to be careful about whether she wanted to make pretty pictures, or edgy ones, as her aesthetic sensibility seemed to waver.
Douglas Stockdale, a fellow reviewer, has long run the excellent blog The PhotoBook Journal. He also makes his own books, and shared “Bluewater Shore” with me, his latest.
I’ve never seen a book that came in a plastic ziplock bag before, and that was a novelty. But I also like the re-purposed archival family images, which resonate with old school California beach culture.
I saw Eleonora Ronconi’s work at the portfolio walk, and it turned out she was engaged to my friend Paccarik, which I didn’t know. (He’s made a few appearances in the column over the years.)
She had pictures made in her native Argentina, and I thought they were lovely. Her color palette, in particular, with those rose-peach hues, grabbed my attention the most.
J. Matt is a surfer dude from Hawaii who recently moved to LA after many years in San Francisco. He’s an architect, by trade, but seems like a generally-creative-type person.
He showed me some pictures of LA that looked a bit like Dan Lopez’s from last week, and a little sample of work shot at the beach. As that’s a huge part of who he is, I checked it out on his website afterwards, and we’re sharing some of them here.
Linda Alterwitz, based in Las Vegas, had photographs made with a thermal imaging camera. I asked her if she knew of Richard Mosse’s work, the stuff with the expired pink film, and she said she did.
Little did I know, but he’s done work with thermal imaging cameras as well. So what, though, as I highly doubt Linda knew about it when she was lent a camera by a manufacturer.
The figurative images are wild, as are the horse pictures. And there’s a monkey in there too? WTF?
Finally, Mara Zaslove had photographs of an elderly friend, and they’ll include the only nudity we show today. (Hope that’s OK, as we’re normally SFW.)
Aging is a subject most people want to avoid. Hell, I was watching some old Westerns on TV the other day, and couldn’t believe how many old people there were.
Modern entertainment casts must be 25 years younger, on average. So I like that Mara’s work makes me think about that, while retaining some grace too.
Well, that’s it for the LA roundup. We’ll be back to book reviews next week, and I hope you’re enjoying the summer.