Photographs produced using this mobile darkroom for children capture mundane carefree scenes. The overall feeling of this poignant book is that children are not only inquisitive but resilient, even experimental, and that no matter the context, photography will always be magical.
The guise of the archive is the best under which to first approach Frames body of work, especially his color photography from 1981. The photographs are snapshots in a wayquick and unframedand yet, the small details and omissions reveal as much as they conceal, evidencing a close looking, documenting, and refocusing.
Artist and educator Nigel Poor, who brings an incredible solicitude and sense of fellowship to The San Quentin Project, began teaching a history of photography class through the Prison University Project. These images reveal not only life inside one of Americas oldest prisonsbut also great insight into how prisoners perceived these annals, and themselves.
The seams of the transposition show: colors dont match, resolutions are out of whack, and scale is distorted, imparting a cartoon-like sense of textured unreality. The tactics create fresh narratives out of overdetermined symbols, personae, and visual paradigms.
The spare, geometric compositions of factory dressings are strangely moving. The book shows both the thrilling advances of the factory floor and the new, liberatory freedom of the gig economy era to be an illusion.