Part 1. Why travel writing?
I’m having a lot of fun with these articles.
Can you tell?
After 5 solid years of book reviews, I figured you were ready for something different in the column, and Rob agreed, so here we are.
At this point, I’d say a thank you is in order, to him and to you, because I’ve never gotten so much positive feedback, over a period of time, since I began the column.
Always, though, there’s a hater.
And I wouldn’t be an internet writer, born of and from the digi-verse, if I didn’t at least acknowledge the shade. (On Facebook, of all places.) Even better, I’ve got a story about confronting an old troll in person, in Portland, that I’ll share in an upcoming piece.
As to this (admittedly slight) criticism, a Facebook friend I don’t know asked when I’d be writing about photography and photo books again?
It’s only one person, and I don’t mean to over-invest in the critique, but I do have an answer to the question.
I’ll delve deeper into Photo London today, and I also saw the Martin Parr show, and an exhibition of British photojournalism at the OXO tower, put on by the British Press Photographers Association.
The Offprint Fair at Tate Modern was on the docket as well, where I presumed there would be gobs of photo-books. (Not exactly.)
The plain truth is that the photography I saw, in person, was far from the most interesting art I saw in London.
I know this is a photo blog, because I’ve been writing here for 9 years.
But this column has evolved, and as much photography as I discuss, (most of the year,) it’s important to note that the medium was not doing it for me, compared to other things I saw, ate, and experienced.
So pivoting to travel writing, here in Summer 2019, is as much about being honest about what is earth-shaking out there, IMO, as it is about keeping it fresh on a long-haul column. (And again, we’ll discuss photography today.)
The architecture in London, (yes, that history again,) is so beautiful that it’s hard to put into words. Or capture on screen.
Walking the Thames riverfront feels meta and actual at the same time, like people say about the Seine in Paris, only with more grit.
Just last night, watching the latest episode of Luther Season 5, (Idris Elba has to be the next Bond,) I paused the screen, recognizing I’d stood in that exact spot, on the Embankment, just across the street from Somerset House last month.
Except on screen, there was a dead body hanging from a noose, wearing a scary mask that replicated the face of a psycho killer.
(England goes dark, when it goes dark.)
I was there at Somerset House, in Central London, to visit Photo London on three consecutive days, and I used it as something of a hub. (Wifi, bathrooms, friends to talk to.)
Given that I had press access, which was free, (Thanks, Photo London,) it allowed me to have a much deeper and broader experience than I would have otherwise. (Though no free lecture tickets means I can’t write about them. Nudge, nudge.)
So let’s break it down by day, as each experience was so different.
Part 2: Thursday at Photo London
As I said last week, I bumped into almost no one the entire weekend.
Which means I was really able to key in on the work to a far-greater-degree than I did at AIPAD.
My first move, that Thursday, was to look around the pavilion, and see if any art attracted my interest. (At that point, I was still scanning the room a bit, for people, before giving up entirely.)
Definitely some cool work by Richard Mosse, Andreas Serrano, Paul Graham, and David Goldblatt. (But nothing I hadn’t seen before.)
I know I said these fairs are more for collectors and dealers than artists and journalists, but when I tab up all the things I saw at Photo London, the good, the bad, the interesting and the tacky, there was quite a lot on display.
I was searching for inspiration on this trip, though, (Thanks, cousin Mike,) and I didn’t get much at Photo London.
After the pavilion, I went into the West Wing, looking for the Discovery section, which was tucked away in the labyrinth. (There was a photo book fair in the East Wing that was always hard to walk through, due to crowds.)
There were emerging galleries from all over Europe in Discovery, (located on a hidden Mezzanine that was always hard to find,) and a lot of weird, construction-based work. Nothing that made me crazy, though I did photograph a few things for you guys on a Saturday return.
One weird fact: there were human sized-niches in the Discovery section, and I saw two gallery workers emerge from them, as if they had been powered down, at a standing rest. (I guess they were.) Creepy and cool simultaneously.
Scott implored me to spend some time with the very-tall postcard exhibition, into which lots of artists had been invited, and he was right.
There was some strange, really odd work, (including preggo nudes,) and some of the groupings were really interesting.
Last thought for Thursday: I was fortunate to interview Stephen Shore during my 6 year run at the NYT Lens blog, (more on that later,) and he’s a super-nice guy. I’ve traded emails with him once or twice since.
So it’s hard to admit that Scott and I saw a show of his big iPhone work, blown up large, and it wasn’t very good. He told me, a few years ago, that his Instagram feed was his primary artistic medium these days.
I believe these photos derive from that phase, and I know that not every project can be a hit, nor one creative phase as fertile as another.
But if I were Mr. Shore, I’d switch it up again.
Part 3: Friday at Photo London
My morning was packed, with things that will come up another time, but once I finally arrived at Photo London, (Wifi and Bathroom pit-stop) I mostly wanted to talk with my Portland buddy Gregory Eddi Jones, and meet his wife Stephanie.
I wanted to get out of there quickly, though, as Hugo and I were meant to meet up, so we could head back into town to see “The Warriors,” which was playing at a revival theater in Leicester Square.
But we got to talking, and before you know it, some guy came up and asked us if we wanted a chip for a free drink.
A negroni or something else with Campari.
I’m all for a free drink, and like I said, we got to talking, so of course I got home too late for the movie.
It led to an eating tour of North London, though, which combined with my Afghan lunch was one to remember. (We’ll get there too.)
Part 4: Saturday at Photo London (AKA Holy Shit what a coincidence)
Here’s where things got interesting.
I met my dear friend Richard Bram, quite by accident, as his message popped up as soon as my phone was live again, when I arrived at Somerset House on Saturday afternoon. We had a date for Tuesday, (again, more to tell,) but Richard was there, and I was there, so we made a plan to meet up.
I was a bit of a grump, because I needed some water, and likely some food, but Richard was kind enough to let me unwind, and then he bought me a fresh squeezed grapefruit juice to help with the blood sugar.
(Thanks, buddy. What a mensch.)
Richard is one of my favorite people to look at art with, because he’s very smart, knows a lot, but also isn’t pushy with his opinions.
We breezed through some galleries with not-so-impressive stuff, and then, again in the West Wing, encountered a full, private gallery room filled with 19th Century gems.
Julia Margaret Cameron. Gustave Le Gray. Charles Negre.
The woman behind the counter, Paula Hershkowitz turned out to be the proprietor, and she said she ran a private dealership with her husband Robert. (In Sussex and London.)
That she was the only nice, interested dealer I met might have been because she was THAT nice, that I didn’t try hard enough to engage the others, or that it’s just the way these things go.
But after we ogled her wares for a while, she told us there was a big Roger Fenton show, in the bowels of the basement, that her gallery had arranged.
If we could find it.
It took a while, as we stumbled through the Discovery section again, and also bumped into the dumb Gavin Turk Instagram egg and the boring Stephen Shore show.
Then, thankfully, we found it.
And it was breathtaking, to stay the least.
(Not inspiring, though, because I’ve seen versions of this work many times before.)
Setting aside that standard, these were amazing photographs.
I think part of the genius, beyond the patina of age, is that the best 19th Century artists were experimenting with a truly new medium.
They were making it up as they went along, and that’s the juice I think photography lacks, these days.
It’s descriptive, and expressive, but it’s not radical in any way.
(Even that photo that just came out, of the dead Salvadoran Dad with his dead daughter clinging to his body, won’t really change anything, will it?)
Richard told me a story about one of the famous manor houses featured, and how the wall of glass was almost scandalously extravagant for the time.
Also, he recounted how a statue in one photograph had been moved, during a public infrastructure project, and how the affected courtyard’s Feng Shui was forever off.
We were chatting, enjoying ourselves immensely, when a guard came over and asked us to be quiet, as there was a talk going on in an adjacent gallery.
We had no idea about it, as Richard is my witness.
But sure enough, once we shut our traps and went to explore, we found it was a one-on-one discussion between Josh Haner, NYT Pulitzer Prize winning photographer, and Meaghan Looram, who is now the Director of Photography.
Right in front of me, stood the guy who saw “The Value of a Dollar” at a portfolio review in 2010, and offered to publish it in the New York Times Lens blog.
As a result, it went viral, and made my career.
And there he was, talking to the woman who I’m told decided to shut, or “hiatus” the New York Times Lens blog, 9 years later, thereby relieving me of my duties at the Gray Lady after 6 years and 50+ articles.
There they were.
Right in front of me.
Talking to each other.
I was stunned.
Richard asked me what was up, as I was clearly shaken, and if I wanted to talk about it. I suggested we keep our voices down, as it was sensitive information, and it likely wasn’t the right place to discuss it.
I was upset, as the whole affair was still fresh, and there are details I’ve not made public.
So we decided to get the Hell out of there, after we took a second to look at Josh’s photographs.
The truth is, he’s gotten a lot of credit for his global drone work, video in particular.
His drone videos are tight, for sure, but these landscape pictures, (which I know are supposed to make me care about climate change,) failed to move me, or seem distinctive in any way.
They’re too boring, and maybe no images can do this anymore anyway? (But sometimes they can. Ask Ed Burtynsky.)
As Richard and I were leaving, (because I was afraid I might let my emotions get the best of me,) who was standing in front of me on the stairway landing, looking me in the eye, but Whitney Richardson, who was the NYT Lens blog producer, halfway through my run.
The beginning, middle and end were all there in one room, and you’d have to be a proper idiot to miss the significance.
It was my chance to say goodbye to a phase in my life, and move on.
Whitney said she was now an event producer for the NYT, living in Islington, (where I was staying,) and that life was great. In fact, she’d produced the talk for Photo London.
That was her gig now.
It was a bit much, at the end of a very long day, (in which I missed that crucial train,) and I admitted to her I was hurt at how it went down, and that it seemed like too strange a coincidence for me to handle.
I didn’t want to express anger, nor be rude, so I wished her well, congratulated her on her new job, asked her to give my regards to Josh.
Then I left, shaking my head.
The truth is, I worked with 5 producers during my experience with Lens. They all get promoted to the good jobs, and those people make lots of money, with great benefits, and new opportunities.
They have a chain of command to go to, when things go wrong. There are union reps, and all sorts of systems in place.
But organizations like the New York Times, (or in this case, we’ll just say The New York Times,) also run on freelancers, who get paid next to nothing, have no benefits, no opportunities for advancement, and no chain of command.
As I’ve said before, my time working for the NYT benefitted me immensely, and I learned a lot.
I’m truly grateful.
But there was never a moment that I wasn’t aware of the two-tiered system. It was clear, again and again, that we were second class citizens.
The byline was the same, so to the outside world, I looked like one of them. (Before they took bylines off the home page.)
My byline said I worked for the New York Times.
But I was always disposable, with 1000 people lined up behind me to do the job for little pay.
Every time I tried to make a new connection, or ask for a new opportunity, I was told the same thing.
So when I hear that blogs are closing there, political cartoons are disappearing, and perhaps other organizations are doing a better job in general, I’m not surprised.
My experience with the New York Times company was purely transactional, and they paid me more with cultural currency than hard cash.
(They could, so they did, because that’s how Capitalism works.)
And when they were done with me, I got not nary a thank you, nor even a “Good Job.”
I’m too classy to drop the details here, but it was very unpleasant.
So that’s how I wrapped up my Photo London experience.
Not fun, but highly cathartic.
(And again, those Roger Fentons.)
Thank you, Photo London, and I hope I can make it back next year. I know I got in for free, but I can honestly say the experience is worth whatever they’re charging.