“Courtesy of the IU School of Journalism”
“Courtesy of the IU School of Journalism”
THE ANNENBERG SPACE FOR PHOTOGRAPHY PRESENTS NO STRANGERS: ANCIENT WISDOM IN A MODERN WORLD OPENING NOVEMBER 17, 2012
LOS ANGELES, CA (August 23, 2012)–The Annenberg Space for Photography is pleased to announce its next exhibit – no strangers: ancient wisdom in a modern world, a group show about the wonder of culture and the plight of indigenous people throughout the world. no strangers is guest curated by esteemed anthropologist, author and photographer Wade Davis. This exhibit opens to the public in Los Angeles on November 17, 2012 and runs through February 24, 2013.
no strangers explores the ways cultures express a shared humanity and navigate the circle of life. It poses a fundamental question: What does it mean to be human and alive? When the people of the world answer this question, they do so in 7,000 unique voices. Tragically, half of these may be silenced within a generation or two. At risk is our human legacy, a vast archive of knowledge and expertise. Rediscovering a new appreciation for the diversity of culture is a crucial challenge that should be faced.
Photographers featured in the exhibit are Carol Beckwith & Angela Fisher, Wade Davis, Chris Johns, Lynn Johnson, Steve McCurry, Randy Olson, Chris Rainier and Hamid Sardar.
…The exhibit will feature an original short documentary produced by Arclight Productions for the Annenberg Space for Photography. The film will be shown in vivid detail on two 14’ by 7’ screens in 4K resolution. Filmed in locations throughout the world, from Washington, DC to British Columbia, Canada to London to Mongolia, the documentary will feature additional photographs, interviews and behind the scenes footage with exhibit photographers, indigenous people and experts. The film will examine indigenous cultures through photography’s lens and encourage viewers to consider ancient traditions in a new context.
The themes explored in the exhibit include: The Circle of Life, Our Shared Origins,
Ancient Wisdom, Sacred Geography, Endangered, Globalization, Ritual & Passages, Beauty, Quest for Spirit and Joy of Culture.
The black stallion reared up to face the helicopter. Dust and brush pelted me as I braced, pointing my camera upward as it hovered, bearing down on me. Sun streaked into my lens. It looked near perfect…
Of course it looked near perfect. It was a MOVIE—not an authentic life encounter with real wild horses and helicopters like I experienced when I was working on a story for National Geographic magazine on mustangs.
(And… no, that’s not me. She’s an actress (Mireille Enos) who plays Brad Pitt’s wife in an upcoming zombie movie, and she is the heroine in this film.)
Although there were long hours waiting to shoot pictures, there wasn’t the uncertainty I feel in real life wondering “if” it will happen but in this case “when” it would happen. There were a few parallels to my life, but I still am a bit mystified how I ended up on a Hollywood movie set. The manufactured scenes looked as realistic as the real-life Western roundups I witnessed with horses, helicopters and wranglers.
I can always tell it is the end of a semester when students are on deadline and write me with a list of questions for a class paper. They want to know where is the most exciting place I’ve ever been, what is my favorite picture and how they can become a “National Geographic photographer.” The Internet makes me accessible. Randy and I also get numerous requests to donate photographs to fundraise for worthy causes. Some get answered. Others don’t. When I am on the road for weeks at a time, emails like this can get lost in the shuffle.
I kept one such email request in the IN box, however, and read it months later. A woman making a film wanted to use some of my photographs—her subject was near and dear to my heart—wild horses.
We corresponded and spoke on the phone. I heard her passion and engaged. One thing led to another and all of a sudden I found myself on a plane to LA to photograph on a movie set with some of the most impressive, talented people in Hollywood film. I have to admit that part of what captured my attention is that Stephanie Martin co-wrote a script with her Wellesley classmate Jessica Walsh to point out the issues surrounding mustangs in the American West. She happened onto my web site and found some inspiration and formed a story where a magazine photographer has an encounter with a mustang named Phantom and ends up photographing a BLM round up of wild horses. No, it isn’t about me specifically–I wasn’t arrested (that would be EARLIER in my career) and I didn’t grow up in Nevada (Indiana), but I was intrigued that my life and my photographs of wild horses triggered a reaction from her, and something told me this would be an interesting experience.
Stephanie (on far left in above photo, next to me) who has made a career as a Cinematographer in features, shorts, documentaries and commercials, was accepted into an American Film Institute directing workshop for women. She is a sincere, strong-willed, persuasive and focused woman who was following her dream to direct—but little did I know that she is also married to one of THE MOST talented and admired cinematographers in the world (Robert Richardson—google him) who won Academy Awards for Hugo (last year), also for The Aviator and for JFK. He’s worked with directors Martin Scorsese, John Sayles, Rob Reiner, Oliver Stone, Barry Levinson, Robert De Niro, Errol Morris, Robert Redford, and Quintin Tarantino and has an amazing eye for drama and light. Bob was going to shoot Stephie’s film.
So this short 12-15 minute film with a budget raised partly on Kickstarter was in reality a pretty big production of some of the most gifted assistant directors, editors, camera operators, producers, actors that anyone could assemble. They were all DONATING their time and talents to make a great little movie that might turn into a big-time full-length feature film. At any one time there were dozens of people on the set—but there were so many friends and co-workers behind the scenes—I am guessing there were 60-70 people involved in the one-week shoot.
My role was to photograph images that the heroine photographer shoots in the film (Mireille Enos, TV show “The Killing” who also stars with Brad Pitt in “World War Z” is shown above)…to coach her to be a believable photographer (she was a natural)…and to photograph behind the scenes (much fun but a delicate dance). Bob let me set up a camera anywhere around him—under him—over his shoulder, beside him—of course just not in front of him. He was aware of everything going on around him all the time. Not a particularly willing subject, he tolerated me making photographs of him. I think he understood this was Stephanie’s moment and he wanted it to work.
For a variety of reasons, we live in Pennsylvania and Oregon depending on work and our schedules and what our families are doing.
I’ve written before about the shock of going from culture to culture and how that can affect your notion of how group think can affect everything in culture whether you are a Pygmy or a Svan. I am pretty comfortable bouncing back and forth between these cultural groups and I’m not sure what prepared me to fit in so easily. I am from the midwest and did not travel outside the United States until in my 20s. Yet, when I fly into a foreign land where cultural differences are great and creature comforts are few, with a camera in hand, the difficulties don’t matter.
Strangely enough, I find it more difficult sometimes to go from rural/suburban Pennsylvania (where our little town is provincial and we are surrounded by 13 churches, some of whose bells resonate constantly inside our living space) to Portland Oregon that on the very first night I land here, there are thousands of people going thru the streets naked on their bicycles.
This is from bikeportland.org: I saw so many beautiful and happy people. My face is still sore from smiling. I love how this ride attracts such a wide swath. I met one woman who I know from bike advocacy work. She said she just happened to be out biking and saw everyone riding by. “Everyone was just so nice and welcoming,” she said, “so I just decided to join in.”
I contacted everyone I could by email to get permissions to run these photos. It wasn’t possible for the folks that were just riding by in HORDES in the video, but there are many other examples of that kind of video from this event on the internet. But I think it is important in almost any venue to work on consent.
We’ve known John since he was an intern at the Pittsburgh Press where we all worked… We’ve vacationed in Africa together and kept up pretty well until he started covering conflict zones… and for years, we would only see him on CNN every now and then when they would show a brick slamming into his head in SLO-MO while he was covering some uprising somewhere in the world. He was nearly blown up with Benazir Bhutto… and… and… and…
It’s nice to finally see a video of what he’s been up to…
Um… I am posting this link to the DVD so all of our parents can order a copy 🙂
Randy’s photograph of a brown bear fishing underwater in Kamchatka is recognized as one of the top ten photographs in National Geographic Magazine 2009.
Melissa’s story,The Mustang Mystique, is published in the March/April 2010 issue of Smithsonian magazine.
These are pages from National Geographic Magazine…View Our Publications
Our driver, Tamasz, is helping me and goofing around. He is juggling some kind of fourth century pig cup and pretending he is being hit in the head with these catapult rocks. He’s convulsing as if he is dead on the floor. Even the student archaeologists are looking sideways at him. He and the security guard help me secure a light to a chair using scraps of rags and various fourth century munitions, but the light really isn’t stable until the guard pulls a part off his machine gun to use as a brace.
This links to our Photoshelter site. There are also individual links to PS in our galleries.Choose from over 5,000 images
There are a few too many brown bears at the end of the tray, but otherwise this is …View Kamchatka Salmon
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