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Friday, 12 November 2010 21:30

Portraits for D.C. Festival Grew Up on Web

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For the past eight nights, 100 larger-than-life portraits have been projected onto the exterior facade of the Corcoran Gallery of Art in Washington, D.C. Some are well-known, others belong to photographers just starting out in their careers. The images are not from famous collections or even from news or agency archives. They are from a website.

Every morning for four years, Flak Photo, an online community curated by Andy Adams, has published an

image by a contributing photographer. These “daily photo updates” are more than just 24 hours of fame: Collectively, they are a resource of 1,300 images to be tapped and shared.

As part of FotoWeekDC, Adams teamed up with Larissa Leclair of the Indie Photobook Library, to curate 100 Portraits/100 Photographers.

“When Larissa approached me to produce this screening,” says Adams, “she reminded me that Flak Photo’s archive has become a kind of contemporary photo collection–digital archive with unique curatorial possibilities.”

Sharing the treasures of the online archive with a new offline audience extends Flak Photo’s raison d’être into the real world. “100 Portraits/100 Photographers celebrates the role that a thriving online photo community plays in the discovery of artists in the internet era,” says Adams.

Continuing to serve a global audience, Adams also put together an online version of the exhibit. Flak Photo’s social networking base of 11,000 Facebook and 6,000 Twitter followers made sure the project enjoyed wide distribution and discussion.

Among the mainstream photobloggers, the NPR Picture Show selected 10 choice works, while The New Yorker’s Photobooth picked out an edit with international focus. Here at Raw File, we’ve opted for 16 of our favorite portraits from the collection.

This little section of America is made up of orange sunbathers, liquor-store clerks, quiet soldiers, music legends, tattooed lovers, gay men who roller-skate, lumberjack fathers and grandparents with impairments. About the Washington, D.C., projections, Adams’ says, “[At] several times larger than life, these portraits look back at us and embody a louder voice in the discourse of the gaze.”

Authors: Pete Brook

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