BEGIN:VCALENDAR
VERSION:2.0
PRODID:icalendar-ruby
CALSCALE:GREGORIAN
X-WR-CALNAME:Exhibition: "Alen MacWeeney and a Century of New York Street P
 hotography"
X-WR-TIMEZONE:Eastern Time (US & Canada)
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920035057
DTSTART:20190909T140000Z
DTEND:20190909T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920037108
DTSTART:20190910T140000Z
DTEND:20190910T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920037970
DTSTART:20190911T140000Z
DTEND:20190911T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920039159
DTSTART:20190912T140000Z
DTEND:20190913T000000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920039430
DTSTART:20190913T140000Z
DTEND:20190913T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920042043
DTSTART:20190914T160000Z
DTEND:20190914T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920042941
DTSTART:20190915T160000Z
DTEND:20190915T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920044345
DTSTART:20190916T140000Z
DTEND:20190916T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920044566
DTSTART:20190917T140000Z
DTEND:20190917T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920047577
DTSTART:20190918T140000Z
DTEND:20190918T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920048284
DTSTART:20190919T140000Z
DTEND:20190920T000000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920049596
DTSTART:20190920T140000Z
DTEND:20190920T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920049735
DTSTART:20190921T160000Z
DTEND:20190921T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920052594
DTSTART:20190922T160000Z
DTEND:20190922T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920052766
DTSTART:20190923T140000Z
DTEND:20190923T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920054572
DTSTART:20190924T140000Z
DTEND:20190924T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920055035
DTSTART:20190925T140000Z
DTEND:20190925T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920057492
DTSTART:20190926T140000Z
DTEND:20190927T000000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920058622
DTSTART:20190927T140000Z
DTEND:20190927T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920058966
DTSTART:20190928T160000Z
DTEND:20190928T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920060377
DTSTART:20190929T160000Z
DTEND:20190929T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920062750
DTSTART:20190930T140000Z
DTEND:20190930T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920063804
DTSTART:20191001T140000Z
DTEND:20191001T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920064883
DTSTART:20191002T140000Z
DTEND:20191002T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920066747
DTSTART:20191003T140000Z
DTEND:20191004T000000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920067356
DTSTART:20191004T140000Z
DTEND:20191004T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920069826
DTSTART:20191005T160000Z
DTEND:20191005T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920070743
DTSTART:20191006T160000Z
DTEND:20191006T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920071954
DTSTART:20191007T140000Z
DTEND:20191007T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920072390
DTSTART:20191008T140000Z
DTEND:20191008T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215203Z
UID:tag:localist.com\,2008:EventInstance_30970920075127
DTSTART:20191009T140000Z
DTEND:20191009T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920075741
DTSTART:20191010T140000Z
DTEND:20191011T000000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920077627
DTSTART:20191011T140000Z
DTEND:20191011T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920078739
DTSTART:20191012T160000Z
DTEND:20191012T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920079402
DTSTART:20191013T160000Z
DTEND:20191013T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920081711
DTSTART:20191015T140000Z
DTEND:20191015T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920083384
DTSTART:20191016T140000Z
DTEND:20191016T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920084564
DTSTART:20191017T140000Z
DTEND:20191018T000000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920085675
DTSTART:20191018T140000Z
DTEND:20191018T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920088272
DTSTART:20191019T160000Z
DTEND:20191019T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920089034
DTSTART:20191020T160000Z
DTEND:20191020T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920091145
DTSTART:20191021T140000Z
DTEND:20191021T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920092360
DTSTART:20191022T140000Z
DTEND:20191022T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920093265
DTSTART:20191023T140000Z
DTEND:20191023T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920094895
DTSTART:20191024T140000Z
DTEND:20191025T000000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920096329
DTSTART:20191025T140000Z
DTEND:20191025T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920097880
DTSTART:20191026T160000Z
DTEND:20191026T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920099283
DTSTART:20191027T160000Z
DTEND:20191027T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920100319
DTSTART:20191028T140000Z
DTEND:20191028T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920102832
DTSTART:20191029T140000Z
DTEND:20191029T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920103131
DTSTART:20191030T140000Z
DTEND:20191030T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920105021
DTSTART:20191031T140000Z
DTEND:20191101T000000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920106649
DTSTART:20191101T140000Z
DTEND:20191101T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920108242
DTSTART:20191102T160000Z
DTEND:20191102T210000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920109931
DTSTART:20191103T170000Z
DTEND:20191103T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920111949
DTSTART:20191104T150000Z
DTEND:20191104T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920113358
DTSTART:20191105T150000Z
DTEND:20191105T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920114778
DTSTART:20191106T150000Z
DTEND:20191106T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920116475
DTSTART:20191107T150000Z
DTEND:20191108T010000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920118243
DTSTART:20191108T150000Z
DTEND:20191108T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920119793
DTSTART:20191109T170000Z
DTEND:20191109T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920120458
DTSTART:20191110T170000Z
DTEND:20191110T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920122898
DTSTART:20191111T150000Z
DTEND:20191111T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920124253
DTSTART:20191112T150000Z
DTEND:20191112T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920126336
DTSTART:20191113T150000Z
DTEND:20191113T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920126822
DTSTART:20191114T150000Z
DTEND:20191115T010000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920129485
DTSTART:20191115T150000Z
DTEND:20191115T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920130372
DTSTART:20191116T170000Z
DTEND:20191116T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920132343
DTSTART:20191117T170000Z
DTEND:20191117T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920133257
DTSTART:20191118T150000Z
DTEND:20191118T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920133805
DTSTART:20191119T150000Z
DTEND:20191119T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920136682
DTSTART:20191120T150000Z
DTEND:20191120T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920137594
DTSTART:20191121T150000Z
DTEND:20191122T010000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920139003
DTSTART:20191122T150000Z
DTEND:20191122T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920140075
DTSTART:20191123T170000Z
DTEND:20191123T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920141828
DTSTART:20191124T170000Z
DTEND:20191124T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920143489
DTSTART:20191125T150000Z
DTEND:20191125T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920145466
DTSTART:20191126T150000Z
DTEND:20191126T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920147778
DTSTART:20191127T150000Z
DTEND:20191127T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920148876
DTSTART:20191130T170000Z
DTEND:20191130T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920150565
DTSTART:20191201T170000Z
DTEND:20191201T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920151330
DTSTART:20191202T150000Z
DTEND:20191202T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920153255
DTSTART:20191203T150000Z
DTEND:20191203T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920154531
DTSTART:20191204T150000Z
DTEND:20191204T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920155734
DTSTART:20191205T150000Z
DTEND:20191206T010000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920157466
DTSTART:20191206T150000Z
DTEND:20191206T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920159112
DTSTART:20191207T170000Z
DTEND:20191207T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20261006T215204Z
UID:tag:localist.com\,2008:EventInstance_30970920160652
DTSTART:20191208T170000Z
DTEND:20191208T220000Z
DESCRIPTION:The documentary genre known as street photography is this centu
 ry’s most fundamental and pervasive form of photographic image-making. P
 roducing such images\, for the professional artist and hobbyist alike\, re
 quires little more than a camera and a comfortable pair of shoes. \n\nStre
 et photography is essentially visual note-taking\, the result of individua
 ls’ desire to record compelling objects or moments as they move through 
 life. Their subjects may be around the corner or on the other side of the 
 planet. Historically\, street photography has provided a metaphoric mirror
  held up to the world\, one that has played an important role in introduci
 ng one culture to another\, often with the result of promoting mutual unde
 rstanding. \n\nIn conjunction with a panel discussion organized by Karl Ba
 den entitled When Everyone Has a Camera: Street Photography\, the Right to
  Free Expression\, and the Right to Privacy in the Internet Age on Novembe
 r 13\, the McMullen Museum presents a selection of documentary photographs
  from its collection. All were made on the streets or in the subways of Ne
 w York City\, one of the world’s capitals of street photography.\n\nBeca
 use street photography occurs in a public space it has been protected as a
  right to free expression under the US Constitution’s First Amendment. T
 he digital revolution of the past three decades\, social media\, the ubiqu
 itous smartphone\, and increasingly high resolution\, affordable surveilla
 nce cameras\, however\, have blurred the line between public and private s
 paces. Suspicion and resistance by the general public has grown to being p
 hotographed by a random individual\, especially without permission. At the
  same time\, particularly in urban environments\, the public is constantly
  on camera\, surveilled by governmental and corporate entities\, from body
  cams on a police officer’s lapels to satellite cameras powerful enough 
 to read license plates. It is these paradoxical issues that the panel and 
 exhibition seek to highlight and debate.\n\nThe first section of the exhib
 ition features Alen MacWeeney’s rarely seen subway photographs. MacWeene
 y took them in the late 1970s with a small\, hand-held camera\, and printe
 d them recently\, through the archival inkjet process\, as large-scale pan
 oramas. However\, these outsized images are not true panoramas\; rather\, 
 each print is the sum of joining two photos of conventional 35 mm proporti
 on and printing them as a single panorama. The result is a surreal blend o
 f format and content\, approximating the confinement of a subway car. \n\n
 The exhibition’s second section includes images by a diverse group of ph
 otographers who took pictures on New York City streets from the 1920s into
  the twenty-first century. Walker Evans was the first to create a series o
 f candid photographs in the New York subways\, which he later published in
  a book Many Are Called. Berenice Abbott\, Aaron Siskind\, Jerome Liebling
 \, and Walter Rosenblum participated in the Photo League\, a group that ba
 nded together around social causes between 1936 and 1951.\n\nUnder the Fir
 st Amendment\, all the photographers in this exhibition still would have t
 he right to work in the same manner. The question is whether they would en
 counter more resistance today. The short answer is probably yes. Despite\,
  for example\, that New York City law permits Alan MacWeeney to take pictu
 res in the subway\, chances are greater now that he would be confronted by
  other passengers questioning his intent. Someone might even call the poli
 ce. Walter Rosenblum would almost certainly arouse suspicion if photograph
 ing children\, even with their parents. \n\nOrganized by the McMullen Muse
 um\, the exhibition has been curated by Karl Baden with major support from
  the Patrons of the McMullen Museum.
GEO:42.340795;-71.162583
LOCATION:McMullen Museum of Art
SUMMARY:Exhibition: "Alen MacWeeney and a Century of New York Street Photog
 raphy"
URL;VALUE=URI:https://events.bc.edu/event/exhibition_alen_macweeney_and_a_c
 entury_of_new_york_street_photography
CATEGORIES:Arts
CATEGORIES:Exhibition
CATEGORIES:Visual Arts
END:VEVENT
END:VCALENDAR