Since its founding in 1982, the Independent Weekly has been a champion of meaningful photography. When D.L. Anderson and Jeremy M. Lange joined the staff of the Independent Weekly, their experience was mainly in daily newspapers: chasing fires, elbowing into press conferences and covering high school football games as a matter of record. It was a valuable learning experience, but the breakneck pace of the assignments left very little room for them to pursue more in-depth stories and to develop trusting relationships with their subjects and communities. While at the Independent Weekly, a progressive alternative weekly covering Raleigh, Durham and Chapel Hill, N.C., Anderson and Lange found room to grow and push the boundaries of their craft with steadfast support from their editors and one another.
Beyond the Deadlines: Independent Weekly Photography by D.L. Anderson and Jeremy M. Lange is a carefully edited selection of their best images that seek to challenge readers and the conventional view of photojournalism by removing them from their original context and format to create a new space in which to re-examine them and make the case that images can convey meaning beyond words. In the forward to Beyond the Deadlines (see full text below), Tom Rankin, Director of the Center for Documentary Studies at Duke University, writes: "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."
Beautifully printed on heavy stock, perfect bound, with a limited press run of 225, each issue is a collector's item that will last for years. All 32 photographs from the Beyond the Deadlines exhibit at the Durham Arts Council are included, plus 16 additional photographs exclusive to this piece, which has been thoughtfully sequenced to serve as both a compendium and a continuation of the exhibit.
Each limited edition exhibition catalog includes:
• Forward by Tom Rankin, Director of the Center for Documentary Studies at Duke University (see full text below)
• Hand-numbered edition page
• Artists' signatures
Title: Beyond the Deadlines
Size: 8.25" x 10.75"
Printer: MagCloud, Brooklyn, New York
Paper: 80# text interior, 80# cover
Binding: Perfect Bound
Printing: Digital. HP Indigo Press 5000
$25, plus shipping if ordered online
Is shipping included? U.S. shipping is a flat rate of $3 and will be added to the price during checkout. For international orders, please email firstname.lastname@example.org instead of using PayPal.
Can I buy a copy at the show? Yes. The show is on display at the Durham Arts Council through May 15, 2011. Inquire at the front desk about purchasing a copy (check or cash only).
How many copies are available? This exhibition catalog is a limited press run of 225.
How many copies are signed? All 225 copies of the catalog have been signed and numbered. It was quite a task that left us with headaches when we woke up the next morning.
Other questions? Please email email@example.com.
Listen to Anderson and Lange discuss the exhibit, photojournalism and fine art with Frank Stasio on National Public Radio's The State of Things.
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.
When they aren't working for the Independent Weekly they might be found on the road for The New York Times, The Wall Street Journal, TIME, ESPN: The Magazine or Rolling Stone, to mention just a few. They go where they are sent, in search of new pictures. "Have camera, will work" could be their mantra. "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.
Director, Center for Documentary Studies at Duke University