I succumbed to the powerful current of the mainstream this past fall after finding myself intrigued by the grainy, strangely-lit photos I was seeing smeared across every social media platform. Something about the process seemed delightfully out of place, a superfluous return to a technology we have long since outgrown.
I felt like a cliché. The college grad who faces a crisis over her own personal fulfillment, so she wants to leave the country and start a life abroad — but is too scared of societal pressures and whatever conditioned ideas of success she has, so she stays. I’ve thought of these recurring thoughts and the idea that people don’t understand me, or no one knows how I feel. But the feelings of misunderstanding, isolation, longing and restlessness — they’re not new. People have felt these emotions over and over, by those who have lived hundreds of years before and those who will come after.
Award-winning photographer and peace activist John Noltner embarked on a 40,000 mile road trip in 2009 to photograph the U.S to promote dialogue, resolve conflict and catalyze social change, which he recapped to students on Wednesday evening.
I’ve long feared this moment — not the one where I don a cap and gown, cross a stage or two, pick up a piece of paper and enter the rat race after twenty-one years of nurture. No, the moment I’ve feared most is having to convince the Cornell Daily Sun’s readership that the photo editor can write more than a one sentence cutline. That moment is here. Here goes nothing. I didn’t study photography at Cornell.
“Group Show: Identity and the Global Lens” — an art exhibition on how contemporary culture is visualized and affected by global interpretations of self — opened Monday in the Olive Tjaden Gallery. The exhibit will feature analog photography work by seven students, completed as part of a course in the fall, Art 3601: “Photography: Identity in the Global Lens.”
The photographs present a visual interpretation of how identity in contemporary culture is visualized and affected by global interpretations of self through race, gender and geography, according to the exhibition detail. The students’ use of analog photography is the precursor to today’s digital photography, according to the Prof. Jean Locey, art, the class lecturer. The photography was shot with manual film cameras, then processed in the dark room. “They’re shooting with medium format using 120 film and produce large negatives that make beautiful enlargements,” Locey said.
Currently on view at the Johnson Museum, Daniel Nadler’s ’54 photographs of Theyyam Rituals of Kerala offer an extraordinary view into the local religious traditions of the south Indian state of Kerala. These performances, in which a male performer is used a vehicle for the spirit of a god, were captured by chance by Nadler while he and his wife travelled through India in 2004.