Jul 12, 2019
The entire reason why we’re in Arles is to attend Les Rencontres d’Arles. It is a three month long international photography festival, now celebrating its fiftieth year. Throughout the festival, the city is awash in photography. There are photographic images, photographers, and photography students. Street art of a very special kind springs up on almost every wall of the ancient city--digital prints of photographs wheat-pasted to the stucco, plaster, wood, and brick. Every little cafe or shop seems to have its own show. And throughout Arles there are major exhibits featuring some of the most important figures in the history of photography.
So far, we have been almost half a dozen shows. Yesterday I went to Germaine Krull & Jacques Remy, Un Voyage Marseille-Rio 1941 and La Movida, Chronique d’une Agitation, 1978 — 1988. Both were in or adjacent to the Cloître Saint-Trophime, a magnificent 12th century cloister featuring exquisite stone carvings surrounding a beautiful courtyard.
The Germaine Krull exhibition chronicled the voyage and exile of a group of French political dissidents and European refugees. They fled Paris on the eve of the Nazi invasion. They boarded a freighter run by Vichy partisans and eventually ended up in a penal colony in the North of Africa. The photographs themselves were not particularly interesting. They more-or-less looked like snapshots that someone took of their friends. But as historical documents they are incredible. They show the conditions under which important dissidents like Victor and Vlady Serge lived during the opening years of World War II. And they emphasized that the existence of stateless or semi-stateless refugees is not a recent problem. It dates from the instant that states acquired the necessary technology to demarcate people along the lines of citizenship.
As La Movida exhibition paired beautifully with Libuse’s exhibition. The bodies of work were roughly contemporaneous. And so was the subject matter. While there were many aesthetic differences, the primary difference was the political environment under which the photograph’s were taken. Most of Libuse’s photographs are intimate personal documents chronicling people on the margin’s of society efforts to privately find freedom under a totalitarian regime. In contrast, the four photographers whose work is featured in La Movida lived in a society where people were beginning to publicly pursue freedom after the collapse of a fascist state. Their work generally lacked the intimacy of Libuse’s. It captured the hunger for freedom that people have after freedom becomes possible—as opposed to the way people create free spaces, autonomous zones, in their efforts to privately resist.
The other thing I was reminded of in La Movida exhibition is that I am now old enough to have lived through periods that are now historical. I was an early teen—almost precisely the age my son is now—when the late photographs in both Libuse’s exhibition and the La Movida exhibition were taken. Looking at them I was also reminded of my friend Todd Sines’s photographs of the 1990s techno scene in Detroit--another moment that is both increasingly historically distant and important.
Jul 11, 2019
We spent the majority of our first day in Arles with Libuse Jarcovjakova. She’s an old friend of my parents and for years she’s met with my father’s students in Prague to show them her work and give them a lecture or two on photography. Today was not much different, except that we were in Arles rather than in Prague.
After breakfast we all gathered in the hotel’s conference room and Libuse gave her talk. It was more of a dialogue between her, my father, and Judy Walgren than a formal lecture. I imperfectly transcribed a few of the things she said. She began by talking about the difference between social documentary and personal documentary photography. She said, “When I am doing some social documentary photography, I have done some research... Personal documentary, I use it like self-help. Sometimes I was involved in very complicated situations. I used photography to get some distance for myself and to make some sense of the situation.
Another short note, it is mostly about very ordinary life. It is mostly about something that is very close to you, which is very obvious. Doing photos of such normal ordinary things seems like it might be boring but photography changes things. Life is changing so fast that this ordinary thing will be very important. You don’t need to have some extraordinary adventure. You just need to be present to every day, normal, ordinary life. That is very special.”
One of my father and Judy’s students asked Libuse a question about selfies. This was her response: “I spent five years in West Berlin from 1985 to 1989. There was an exhibit there last year of my work. In the exhibit there were over forty selfies. Living in West Berlin in the 80s I felt very lonely. The selfies were something that helped me to find myself. I was never thinking about my looks. I just wanted to document. I hate myself in many of them. I am just ugly there. I felt horrible. I had no money, no friends, no language. It was a historical moment. But perhaps a good example of what the selfie can do.”
Immediately following her lecture we walked down to the church in the center of town where her exhibition is. It is one of the best exhibition spots in Arles and they had something like two hundred of her images--stretching from the mid-seventies to the late eighties--on display. I bought the exhibition catalog. The images form a remarkable archive of people on society’s margins in Communist Czechoslovakia.
While we were there Libuse gave a second talk. Again, I imperfectly transcribed a few of the things she said. She began by talking about taking photographs in the factory where she worked as a teenager. She said: “At the factory they didn’t care that I was taking pictures until they realized that I wasn’t taking photos of the heroic worker. That was what the Communists wanted. I was taking pictures of people goofing off, sleeping on the job, not working.”
She continued: “In those days, I was very adventurous. I was regularly moving into groups of people that were totally different from me and trying to be accepted. Step-by-step I worked with them and that opened doors. With Vietnamese and the Cubans I taught them the Czech language and I was living with them. They suffered from racism. We teachers were the only Czechs who would spend time with them. And so they wanted me to photograph them. And I took the photographs. I was inside their community. It is necessary to have empathy to join a group like this.”
Reflecting on her body of work she observed: “I had the good luck that I didn’t work on assignment. I had a free hand.”
In response to the question: “What made you ready to show the work?” Libuse said: “Ten or eleven years ago I was unknown. I was always unknown. When I went to my studio I felt a sadness. I had all this work that I hadn’t shared. And so, little-by-little, I began to share my work with some professionals. Then a professional wanted to see both my journals and my images. I felt like it was too personal. I felt like it was gossip. But then I read somewhere that the most personal is the most universal. And I shared more of my work. And I got feedback, especially from young people. They felt like they were reading their own stories.”
In response to the question: “How do you feel now?” Libuse said: “Every morning when I wake up I’m totally empty. I’m very happy. I know it is amazing. People are approaching me and I am know that I have touched their hearts. It is very important for me now not to be in the archives but to be making new work.”
When one of the students asked her how she got her start, Libuse replied: “I am from an artistic family. I got visual art as a heritage. Being in touch with visual culture was very important. My father was a painter and so was my mother. My father had a big personality. I decided I couldn’t be a painter because of him. So, at the age of 13 I got my first camera. At the age of 15 I started to study. Everyone hated my work. And I was very shy about showing it to people. That changed when I started working at the factory at the age of 19.”
When asked, “Were you influenced by punk at all?” Libuse said: “I had almost no influence of contemporary photographers. I knew Robert Frank and Diane Arbus. I had never heard of Nan Goldin.”
That was the last question that she answered during her talk with my father and Judy’s class. After that my family, Judy, her son, Libuse, and Libuse’s niece and grand nephew all went to lunch. We had dinner together as well and then went our separate ways for the evening.
Jul 10, 2019
We met my parents, Judy Walgren, and their students at Charles de Gaulle to catch the train to Arles in the afternoon. The morning was uneventful, we both slept in, and we arrived in time to get a bite to eat before we all got on the train—McDonald’s again for my son and the French pastry chain Paul’s for me.
It turns out that I speak the best French of the group—a rather pathetic statement given that I can only muster enough French to ask for directions, order food, and buy something. Nonetheless, it came in helpful as we traveled. The train ride to Arles consisted of two trains. The first a high-speed train from Paris to Lyon; the second a local train that went from Lyon to Arles. There was a lot of difference between the two trains. The first was modern. It had assigned seats and air conditioning. The second was an artifact from perhaps the 1960s. There were no assigned seats and the car was broken up into a series of cabins of eight.
The most challenging part of the trip was the transfer between the trains. We had exactly 13 minutes to do it. Thirteen minutes to get the luggage of sixteen people—and Americans generally don’t travel light—from one train to another. My French came in handy. I got off and asked directions from a train agent. He answered in English—a fairly common phenomena since many people speak much better English than I speak French—and I was able to steer the group in the right direction.
We barely made the train, but we did, only to discover that without assigned seats many of us had to stand. My son went off with his grandfather and I made my way into a cabin with a handful of extra seats. It was partially occupied by the largest Frenchman I’ve ever seen. He was probably seven feet tall and occupied two seats. The cabin was quite small which gave the whole experience a somewhat surreal feel, especially once people had crammed into all of the seats around him.
The rest of the trip to Arles was uneventful. We saw some beautiful countryside—lavender fields and vineyards—and some delightful towns filled with buildings with stone walls and clay roofs. We arrived exactly on time—8:00 p.m.—and made our way through the streets of the city to the place where we are staying. It is directly across from the Roman coliseum and smack in the center of town.
After checking-in and depositing our bags we went to a pizza place, that also serves Provençal food, for dinner. The service was slow—they managed to forget my son’s order and he ended up eating some of my Dad’s pizza. The waiter was impatient with our lack of French. But overall, the food was quite good. Most people had pizza. I had Provençal style tuna, which was served with a baked eggplant covered in a cheese sauce, some kind of vegetable terrine, a baked tomato, and rice. Towards the end of the meal Libuse Jarcovjakova and her niece and grand-nephew joined us. She and my parents had a long conversation about her sudden success. In addition to pieces in the New York Times and the Guardian, she’s been covered in Le Monde and several other French and Italian publications.
Tomorrow we’re supposed to spend most of the day with Libuse. She’s giving a gallery talk to the students and we’re all having lunch and dinner together. I suspect we’ll spend most of the time in between settling into our apartment.
Jul 9, 2019
We arrived in Paris mid-afternoon. Our flight was delayed by more than two hours. I am not certain why—no consistent explanation was given—but our plane sat on the tarmac at JFK for quite some time. During that time, before I fell asleep on the flight over, I watched a couple of movies: Captain Marvel and the Man from U.N.C.L.E. My son watched a bunch of movies too. He was having such a good time with the inflight entertainment system that I basically had to threaten him to get him to rest for a bit prior to landing.
Our friends Gilles and Nicole have a place across from the Cite de la Science on the edge of Parc de la Villette. Nicole let us in, and my son crashed. Nicole fixed a salad and offered me some baguette for lunch. The salad was simple and delicious—lettuce, a bit of tuna, some egg, and smidge of carrot tossed in olive oil and lemon. Whole books have been written about baguette. Anything I have to say on the subject would be trivial. So, I will pass over the baguette to just note that it was the perfect post-flight meal. Shortly afterwards, I fell asleep.
Someplace the writer Tom Wolfe has a comment about radical chic. It is a phrase he used to describe the New York Review of Books and the left-wing, well-educated, well-off, group of writers who surround it and use it to promote radical politics. Staying with Gilles and Nicole made me realize that the phrase is probably apt for my parents and their friends as well. Many of them share a similar distinctive aesthetic and left-leaning politics. Gilles and Nicole’s apartment has much in common with my parents’ place in Michigan and Marketa Luskacova’s and Libuse Jarcovjakova’s apartments in Prague. In each place there’s the same art filled walls; postcards from friends; copious books; and mass of well use kitchen implements. Some of the art is political. Some of it is satirical. Some reflects a particular affinity with a national culture—the Czechs or the French—but overall the feeling is overwhelmingly international, with a heavy, but not exclusive tilt towards Europe. At my parents’ place there is a bit of Asian art from my Mom’s time with the Peace Corps and some stuff from Mexico—an accumulation from my stints in Chiapas and Oaxaca and my family’s stay in Mexico City when my father was on a Fulbright. At Gilles and Nicole’s there’s a fair amount of African art, particularly masks, acquired, I imagine, from their travels to Africa to photograph people at work.
Visiting with Gilles and Nicole made me aware of my own culture. A number of the women I have dated have said something like, “I’ve never met anyone like you before.” As I have gotten older, I’ve realized that being raised in this milieu of radical chic is not at all a common experience. And so many of the things that I take for granted, including how I think about much of the world, come from this sensibility that is, well, far from the usual American experience.
I anticipate more reflections on culture and radical chic throughout the course of the trip. But for, now, I’ll turn to describing Parc de la Villette. I dragged my son there after we woke up from too long post-airplane naps. It is in my estimation one of the great urban parks of the world: a masterpiece in urban landscaping. The park is a magical mixture of large public spaces and tiny half-hidden gardens. We stumbled into a set of hanging gardens, inspired by the hanging gardens of Babylon; a multiple layered bamboo garden that created a private, quite, meditative, almost other worldly, space in the midst of Paris; and a selection of upright mirrored stones that felt like a modern rendition of menhirs.
I am sure there are other gardens tucked into the Parc waiting to be found but after exploring for about two hours we went back to Gilles and Nicole’s. My son went to bed after a dinner of French McDonald’s. I had another salad with Gilles and Nicole. The aperitif was a delicious mixture of cognac and wine. We spoke a mixture of English and Spanish and they tried to help me with my rather pathetic French. A good portion of the conversation was about light. I have noticed over the years that when I am with photographers they tend to talk about light. They are in the midst of a commercial shoot for Christmas. Apparently, lit candles are very difficult to photograph—they are both a source of light and generally need a source of light to illuminate, a difficult problem.
Tomorrow we meet my parents and my father’s class at Charles de Gaulle airport to catch the train to Arles. This year my father is co-teaching the course with the photographer Judy Walgren. She is a new colleague of his at Michigan State and her son, whose is about the same age as my son, will be accompanying her.
Jul 8, 2019
The rest of July and through early August I will be traveling in Europe with my parents and son. My son and I are tagging along on my father’s study abroad class for Michigan State University. He has taught the course on-and-off since 1980. My mother has accompanied him all but one time. When my brother and I were children we went together with my parents as a family. Since graduating from high school, I have joined my parents on four of their trips to Europe. One of these trips was with both of my children and my then wife. Another was with just my son. My daughter has also traveled with her grandparents on her own.
My father’s class is on photography. As a professor of journalism and a photographer, he has taught two generations of students photography through a combination of portfolio projects, gallery and museum visits, lectures and tours. The lectures and tours are frequently given by leading European photographers--many whom became, over time, some my family’s dearest friends.
This summer my son and I are again joining my parents. My son is now twelve which means that he is old enough to really appreciate aspects of such a trip in ways he wasn’t able to before. Along the way we will be visiting many of the family friends that we have made over the years. These will include artists and art critics, friends of mine from my time at Harvard, childhood friends, and members of the international anarchist community. After reading Mark Lilla’s article in the New York Review of Books on the French New Right I attempted to contact a number of people he describes. So, there’s a slim chance I might also connect with some young French right-wing intellectuals.
This year, I thought it would be an interesting experiment to publish excerpts from my journals on my blog. My blog posts will generally be unpolished first drafts--taken almost straight from my journal. They will include not only my reflections on the trip but my thoughts on what I am reading and, possibly, both the profound ecological, economic, political, and social crisis humanity is in the midst of and my thoughts on the role that the Unitarian Universalist church might play in confronting it. In general, when I write about people who are public figures, I will use their names. When I write about people who are not, I will use initials.
My son and I arrive in Paris on July 8th. We will be spending our first night in France at the Paris apartment of family friends Gilles Perrin and Nicole Ewenczyk. On July 9th we meet up with my parents and travel to Arles for the Rencontres d'Arles. I have been to Arles once before and I am particularly excited about this year’s festival because family friend Libuse Jarcovjakova’s work is being highlighted. On Friday it was featured in the New York Times and Guardian. On the 16th we head back to Paris for ten days. We will be visiting with a host of folks there before heading on July 26th to Sers, a village in Nouvelle-Aquitaine where Gilles and Nicole have a home. We will be there until August 2nd when we fly to London. We will spend six nights in London, including my 43rd birthday, before flying home to Houston on the 9th. I am back in the pulpit on the 11th with a question box sermon.