Beyond the Deadlines

Exhibition Image

May 1, 2012 - May 26, 2012

Beyond the Deadlines: Independent Weekly Photography by DL Anderson and Jeremy M. Lange

Please join us Sunday, May 20th. Stop by anytime between 3pm and 5pm.
The "Beyond the Deadlines" exhibit features 31 photographs taken over the past ten years by these talented Independent Weekly photographers. Photojournalism at it's best. No formal program, just a real opportunity to chat with the artists.

.



The Independent Weekly has two fine photographers on its staff, D.L. "Derek" Anderson and Jeremy M. Lange. Both came to the Indy as young shooters boasting stringer cred from major news organizations—the Associated Press and Chicago Tribune in Anderson's case, The New York Times in Lange's—and have taken many thousands of images in the course of covering all sorts of stories. Working at the Independent requires that they not only be available for traditional spot-news photography but that they adapt to the rigors of shooting a rock band, a fashion model, a baseball player, a poet, a plate of food, a scene of environmental despoliation, a corrupt politician. In every case, they strive to make their pictures interesting and truthful, subtle and aesthetically adventurous. Anderson and Lange have culled several dozen images from their work—mostly for the Independent—of the past few years. Included in the exhibition are images from Lange's project of following North Carolina-based military personnel during a decade of war and Anderson's work with large-format photography.

David Fellerath



Beyond the Deadlines brings us the uncommonly beautiful images of two photographers, D.L. Anderson and Jeremy M. Lange. Their photographs and their wide-ranging subjects from many places call forth the earlier days of the “working” photographer, those picture makers who were forever looking through the viewfinder, on assignment and on their own, entering the darkness and looking for the light.

These are not the images of the weekend photographer or the academic who plans and schemes to get away for a new “project.” These are the images of two photographers who alternate duties for the Independent Weekly, one month on, one off, who are regularly given assignments to make pictures of football games or political rallies or newsworthy people. The list of assignments is infinite, at times asking for a publishable image where hardly a picture exists. They look and work to find an angle, a human dimension that engages, reveals and brings us meaning through their imagery, showing us the day-to-day where mere words would be insufficient.

“Don’t be ‘a writer.’ Be writing,” William Faulkner famously said, giving all artists the best of advice. A photographer, we know, should simply photograph. The magical clarity and revelatory luminance we see in these photographs is in part the result of their constant going, looking and doing—always photographing, always chasing the picture. W. Eugene Smith once said he “would like to be an artist in an ivory tower.” But that wasn’t for him, he said, as “it is imperative that I speak to people. … To do this, I am a journalist—a photojournalist. But I am always torn between the attitudes of the journalist who is a recorder of facts and the artist who is necessarily at odds with the facts. My principal concern is for honesty, above all, honesty with myself.”

Anderson and Lange, with their photographs published in the Independent Weekly and beyond, are always sharing their work, testing their vision with the public, creating work that is honest. They collect pictures relentlessly, both on and beyond their assignments. Deadlines may control their schedules, but picture making is what pulls them through the days, the idea of another picture-making event the catalyst for enthusiasm and creativity.

“The camera is a sketch book,” wrote Henri Cartier-Bresson. “An instrument of intuition and spontaneity, the master of the instant which—in visual terms—questions and decides simultaneously.” Whether he’s looking through his viewfinder at the Battle of Bentonville or at a Halal meat butcher in Staley, North Carolina, or at the Charlotte homecoming of a soldier killed in Afghanistan, Lange strives to understand the near unfathomable with his camera, trying to make order out of what appears a kind of societal and spiritual chaos.

As with Lange, the geography of Anderson’s work is nearly as spellbinding as his images, from Love Valley to South of the Border, from the bathroom of the Duke lacrosse house to a portrait of the longest-recorded marriage in the world. Eudora Welty has written of photography in One Time, One Place that “if exposure is essential, still more so is the reflection.” We are extremely fortunate that Lange and Anderson pursue so relentlessly the “exposure,” leaving us the time to reflect, more slowly, on our own terms, and without deadline.

  -- Tom Rankin
Director, Center for Documentary Studies at Duke University


Exhibition Image