Keith Dannemiller’s Wilson documents daily life in the small town of Wilson, North Carolina, as a means of exploring the idea of Home, that illusory place where one fully and completely belongs.
From 1830 to 1860, Richmond, Virginia, was the largest supplier of enslaved Africans on the east coast of the United States.
Novelist Patrick Wensink believes the home’s backside is where the true self is best seen—a haunting, colorful, and often humorous world that goes unnoticed, ignored.
A photography feature from our Spring 2013 issue.
The landscape photography of J Henry Fair explores the permeable boundary between unearthly beauty and unspeakable environmental destruction.
In Take Me to the River, Michael Kolster explores the Androscoggin, Schuylkill, James, and Savannah Rivers as they emerge from two centuries of industrial use and neglect.
The counterpoint between personality and place, portrait and landscape underpin much of what John Sanderson admits are travel memories of his younger days, when his vantage was from the passenger seat of his father’s pick-up.
At the beginning of 2013, a contest in the Florida Everglades opened, allowing the public hunting of invasive Burmese pythons. Hunters from across the country descended on the Florida wetlands in search of the prey.
I’ll See You On The Beach addresses sites that commemorate the American legacies of exploration, conquest, and the instillation of nationalism by way of stimulating displays.
“No one can tell you why Memphis is as magical as it really is,” said artist and washboard player Jimmy Crosthwait when I interviewed him for The Blues Society, my documentary film-in-progress about the Memphis Country Blues Festivals of the late 1960s. He wasn’t talking only about the magic of a beautiful sunset, a joint, and the sound of the blues, all of which were in profound profusion at the festivals. He was remembering something more elemental, what one of the organizers, the irrepressible Randall Lyon, called the eroico furore, or poetic fury: “It was beautiful to be involved with people who had this heroic enthusiasm for what they were doing.” The Memphis Country Blues Festivals, held yearly from 1966 to 1969, changed the way Memphians—and Americans—think about the blues, and they couldn’t have happened anywhere else.
