| 翻訳と辞書 |
| September 11 Photo Project ： ウィキペディア英語版 |
September 11 Photo Project
The September 11 Photo Project was a not-for-profit community based photo project in response to the September 11 attacks and their aftermath. The Project was originally founded in New York City by Michael Feldschuh, a former Wall Street professional and an amateur photographer, and James Austin Murray, a New York City firefighter and 9/11 responder who also ran a gallery in lower Manhattan. The Project was founded in the days following the tragedy, to provide a venue for the display of photographs accompanied by captions by anyone who wished to participate. The exhibit aimed to preserve a record of the spontaneous outdoor shrines that were being swept away by rain or wind or collected by the city for historical preservation. The September 11 Photo Project opened at 26 Wooster Street in SoHo on October 13, 2001〔Feldschuh, Michael (2002). “The September 11 Photo Project.” Regan Books, New York. ISBN 0-06-050866-3.〕 and it toured seven cities over two years, collected photographs from more than 700 amateur and professional photographers, and had over 300,000 visitors over its run.〔California State Senate. Member Resolution No. 1651. By Senator Deborah Ortiz, 6th Senatorial District. (2003).〕 Following a nationwide tour, the photographs were contributed to the Miriam and Ira D. Wallach Collection of the New York Public Library and are now part of the permanent collection.
The mission of the Project was to display, without exception, every set of photographs and words participants submitted; and welcome all who wished to see them.〔〔Radio Interview with Michael Feldschuh. KSIR Radio 1010 AM Fort Morgan, Colorado. 6 June 2002.〕 The exhibit was featured at the Chicago Public Library on the one-year anniversary of the attacks. During this period, Chicago Tribune discussed the possibility of people becoming immune to the impact of disaster photographs of 9/11, but Alan G. Artner, Tribune Art Critic, said “the most familiar images brought the events back to this viewer with force, which is one sign of how emotionally close to Sept. 11 we still are.”〔Artner, Alan G. “At the Harold Washington Library, more than 5,000 objects try to define September 11”, “Chicago Tribune”, 29 August 2002.〕
==History==
Several days after the attacks, Feldschuh started soliciting submissions for the Project by handing out flyers in Union Square (New York City) to people who were taking photographs of the aftermath. He collaborated with James Austin Murray and together they started the September 11 Photo Project with approximately 200 photos in a 4000-square-foot gallery space in SoHo.〔〔 It was meant as a public space where everyone affected could express their own personal narrative and aid a collective healing and reconciliation process. The exhibition was an illustration of the millions of individual stories of that day. The September 11 Photo Project differed from other projects about 9/11 at the time because it was a completely open and public forum where the collective public chose what is displayed.〔
The Washington Post journalist Philip Kennicot wrote “the guts of this collection are accidental, often voyeuristic, even discardable images, made with whatever camera happened to be handy at the time, on strips of film that no doubt began with images of the last vacation or someone’s birthday party.” 〔Kennicott, Philip. “A Passing Fancy Leaves an Indelible Impression”, “The Washington Post”, 2 March 2002.〕 The number of photographs grew consistently over time; by April 2002 the exhibition had grown from 200 to 4,500 photos 〔Barton, David. “Photo synthesis”, “Sacramento Bee”, Sacramento, 25 April 2002.〕 and in September 2002 The National Geographic reported that “more than 5,000 photos bear witness at the September 11 Photo Project.”〔Maitland, Noel. “10013 After the Fall”, “National Geographic", September 2002.〕 By August 2003 the Project featured over 5,500 photos and notes from photographers aged 9 to 81.〔 The Star-Ledger discussed the importance of immediacy in preserving memorials and artifacts and The Project’s role in it in a story titled “Finding ways to preserve a chilling moment.” 〔Marsico, Ron. “Finding ways to preserve a chilling moment”, “The Star-Ledger”, 4 October 2001.〕 Among the contributors was a British photographer Jason Florio, who described how in the beginning of September 2001 he went to Afghanistan to shoot a war, and then five days later returned to New York and almost died in the 9/11 attacks.〔
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
■ウィキペディアで「September 11 Photo Project」の詳細全文を読む
スポンサード リンク
| 翻訳と辞書 : 翻訳のためのインターネットリソース |
Copyright(C) kotoba.ne.jp 1997-2016. All Rights Reserved.
|
|