Dorothea Lange lived in Berkeley and donated her archives to OMCA as locality was important to her. We review her new show and interview Lange's god-daughter, Elizabeth Partridge.
Matthew O'Brien's exhibition at the Berkeley Public Library, No Dar Papaya, is a photographic exploration of Colombia.
By Kathleen Maclay
UC Berkeley News
Long-time Berkeley resident, Realtor and Berkeleyside contributing photographer Ira Serkes has been going to the French Hotel in the Gourmet Ghetto for years. A few weeks ago Serkes gave Angel, the “super-barrista” who works there, his business card which features a photograph Serkes took of the 2012 supermoon over UC Berkeley, and he inquired if the hotel might be interested in mounting a show of his night photography. The next day, Serkes got a call from Marta Yamamoto who curates the shows at the hotel. The answer was yes, and the result can be seen mounted on the brick walls of the hotel’s café through March 14.
There exist several photographic records of Telegraph Avenue in the 1960s: Rag Theater by Nacio Jan Brown (1975) and Telegraph 3 a.m. by Richard Misrach (1975). There now is a third, Berkeley Then, photographs by Elio de Pisa, text by Diane de Pisa, photo editing by Nick Cedar. Brown and Misrach were great photographers who went to Telegraph Avenue, took great pictures, and made great books. De Pisa was of Telegraph. He managed the Caffe Mediterraneum from 1960 until 1972. (more…)
David Garnick doesn’t remember how many times he drove back and forth over the Bay Bridge on a wet, windswept day to capture a particular photograph he was striving for, but he remembers the toll charges were pretty steep.
UPDATE, 07.16.15: Nancy Rubin’s photography exhibition at the North Branch of the Berkeley Public Library has been extended until July 31.
NOSH is launching its Instagram account, @EastBayNOSH, today with a #firstfoodsofspring theme. Tag your snaps and we'll repost our favorites to our feed.
Nancy Rubin is chronicling the people of Berkeley and beyond with her project, Humans of Berkeley and the Bay Area, or HUBBA. Today we publish a small selection of her extensive portfolio, the fourth time we have done so. Read our interview with Rubin in which she talks about what inspired her to start the project and its philanthropic element.
Drawn to documenting the burgeoning protest movement in the late 1960s, Ken Light came to photojournalism as an extension of his anti-war activism. He started by shooting marches and demonstrations, but it wasn’t until the Nixon administration’s secret bombing of Cambodia came to light in late April 1970, and campuses exploded, that he truly found his calling. Hitchhiking from Ohio State in Athens to the flagship Ohio State campus in Columbus, he captured clashes between students and the National Guard shortly before four students were killed at Kent State in similar demonstrations. Arrested despite his press credentials, Light retrieved his undeveloped film when he got out of jail, and “those photos were published in newspapers and magazines all over the world,” he says. “I was struck, you can really have a voice. I could look around at my generation and tell stories about what’s happening.”
Human rights organizations often depend on the media’s megaphone, calling malefactors to account by publicizing their misdeeds. So it’s something of a paradox that Berkeley’s most influential and visionary NGO dedicated to the international struggle for human rights, the Human Rights Center at UC Berkeley School of Law, tends to operate under the radar. In marking the center’s 20th anniversary, the HRC is presenting an alternately breathtaking and hair-raising photo exhibition, Envisioning Human Rights, part of a new effort to raise public awareness about the organization’s vital work. (more…)
For his new collection of images, Berkeley photographer Richard Nagler spent a lot of time in museums. He also spent a lot of time waiting. Stationed in front of a work of art, he would wait for someone to come along and complete it. The serendipitous, unposed results come from both Nagler’s creative eye as well as his patience.
By Jasper Burget