Chuck Stewart’s photography provided by Fireball Entertainment Group, courtesy of Chuck Stewart Photographs of John Coltrane, Archives Center, National Museum of American History, Smithsonian Institution
Taken in moments of tranquil cohabitation rather than scenes of flooding and disaster, Virginia Hanusik’s photographs interrogate the commonplace existence of communities touched by South Louisiana’s struggle with sea-level rise. “Despite the uncertainty that rising seas and coastal erosion bring to the region,” Hanusik writes, “there is hope found in the history of building practices and land migration patterns that are responses to environmental change.”
In a combination of materials—from municipal maps, to snapshots of demolition, to juxtaposed scenes of overpasses and children at play—Warwick aims to portray the challenging legacy of Old South Baton Rouge, while gesturing toward the strength and promise of its contemporary residents.
In his striking interior and exterior glimpses of the funeral industry in the rural South, Tim Hursley’s photos feature shots of errantly parked hearses, casket showrooms, ranks of carved granite, and portraits of rusted silos and warehouses that look, too, by nature of their juxtaposition, like rows of planted headstones.
Jeremiah Ariaz documents the longstanding tradition of black trail-riding clubs among Creole communities in South Louisiana, drawing from scenes of their rides to “depict joy, pride, and familial intimacy, particularly between fathers and sons who are taught to care for and ride horses from an early age.”
A Southern Journey from the Summer 2018 issue.
I am again driving through the moon-flecked summer night, the hot dead bugs against my windshield summer night, the benzene-sulfur-streaked chemical stacks streaming into the gleaming Gulf summer night. It is so damn hot down here, so sultry, but I don’t want to turn the air-conditioning on in my little red fuel-efficient rental vehicle; I want to breathe in the heat, bathe in the heat, dance with it! And I happen to find a watering hole where I can do just that, in the belly of the belly of the belly of the beast. The Neon Moon Saloon, a cement-floor biker bar in industrial Houston. There’s a lively game at the billiard table, rough red-faced men at the wooden bar, a glowing neon cabinet of booze. It is an end-of-the-world type of place, and this is the end of the world.
Ben Depp’s Bayou’s End is the result of three years “flying above the bayous and wetlands of southern Louisiana in a powered paraglider,” taking aerial photographs from thousands of feet above the ground. Depp spends hours at a time in the air, waiting for just the right moment to capture the “spaces where the geometric patterns of human enterprise—canals, oil platforms, pipelines and roads—collide with nature’s organic forms.”
The photographs in Meghan Kirkwood’s Four Blocks in Chalmette were taken at four intervals within a four-block area of Chalmette, Louisiana between 2008 and 2017. Located east of the lower Ninth Ward, Chalmette sustained heavy flood damage during Hurricane Katrina. The neighborhood Kirkwood photographed, dense with rental properties, has been particularly slow to recover.