What does it mean to be cool? According to scholar Joel Dinerstein, it means a person who conveys “relaxed intensity.” Using this definition, Dinerstein and Frank Goodyear III curated a photography exhibition of “American Cool” at National Portrait Gallery. The portraits feature everyone from Joan Didion to David Byrne.
The subjects of photographer Robert Dawson’s latest project are beautiful, educational, and in danger; they are public libraries. For his new book, The Public Library: A Photographic Essay, Dawson visited hundreds of public libraries, from little free libraries to icons, in 48 states to photograph “our best example of the public commons.” The Morning News has a few of his photos as well as an essay on the importance of libraries by Charles Simic. “Wherever I found a library, I immediately felt at home.”
In one of the most delightful photography projects of late, authors have dressed up as their favorite children’s book characters for Cambridge Jones’s 26 Characters exhibition at The Story Museum. Neil Gaiman looks particularly dashing as Badger from The Wind in the Willows. The exhibition will run from April 5 to November 2 in Oxford, U.K.
If you’re going to accidentally leave almost two dozen unprocessed photo negatives out for 100 years, there’s no better place to store them than a block of ice in Antarctica. Conservationists restoring an Antarctic exploration hut found the negatives left from Robert Falcon Scott’s fatal 1910-13 Terre Nova Expedition to the South Pole. For a less harrowing tale of Arctic exploration, check out our review of Maria Semple’s Where’d You Go, Bernadette?
Photographers who are tired of weddings should start shooting book covers. When New Directions asked to use one of Allen Frame’s photos for the cover of Robert Bolaño’s Last Evenings on Earth, he gave them access to his archive instead. Today, nine Frame photos have been used on Bolaño book covers. You can view them here or at New York City’s Gitterman Gallery.
A couple months ago, I linked to a new Granta series in which authors select one of their own first sentences and recall how they came to it. This week, Patrick French explains the first sentence of a nonfiction piece titled “After the War” (available in Granta 125) by digging up an old photograph that shows how the Edwardian English were “stitched and machined into a grid of expectations.”