British photographer Mark Power, from his new book Good Morning, America, shot mostly in Arkansas and surrounding states:
Lead Hill, Arkansas. October 2016
(Abandoned cotton gin). Elaine, Arkansas. October 2016.
(Tornado damaged house). Ola, Arkansas. 10.10.2016.
(Reeds farm). Marianna, Arkansas. October 2016.
Danville, Arkansas. October 2016.
Dogpatch, Arkansas. October 2016.
Helena, Arkansas. October 2016.
Branson, Missouri. October 2016.
Pine Bluff, Arkansas. October 2016.
(Uncle Jesse's Good Time Dyno-mite Club). Clarksdale, Mississippi. October 2016.
Pine Bluff, Arkansas. October 2016.
(Man waiting). Little Rock, Arkansas. October 2016.
Pine Bluff, Arkansas. October 2016.
(Truck flying a Ku Klux Klan flag). Dogpatch, Arkansas. October 2016.
Harrison, Arkansas. October 2016.
Pierre Part, Louisiana. January 2017.
Pearlington, Mississippi. January 2017.
Killeen, Texas. January 2018.
Harlan, Kentucky. December 2015.
Bridgeport, Oklahoma. January 2015.
[Photos © Mark Power | Magnum Photos]
This is Volume One, in a proposed series of five books.
“For as long as I can remember I’ve wanted to explore America, an ambition fueled by a legion of TV shows that crossed the Atlantic in the 1960s,” he writes. “As a young and impressionable child I devoured The Man from U.N.C.L.E. and The Fugitive, but it was the westerns, evoking a landscape altogether removed from the congested English suburbs surrounding me, that I loved most: Bonanza, High Chaparral, The Virginian and in particular Casey Jones, the adventures of a middle-aged railroad driver putting the world to rights.”
His dream became a reality when Power began to travel and photograph the country as part of the Magnum project Postcards from America, a group of photographers working collaboratively and finding innovative ways of disseminating their work. “I began – although I may not have realized it at the time – to search for the America which lived in my imagination, the one generated during childhood, the one that had probably never existed at all.”...
Extremely dubious. Apart from the pedestrian quality of the subjects and composition, Power appears to sneer at the poor and needy.
Posted by: Michael van der Riet | April 05, 2019 at 07:51 AM