The Charles H. Wright Museum of African American History, Detroit, Michigan
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
Public Viewing, 1997-1998
30, 8x10 Gelatin Silver Contact Prints
“We must not let the doomsayers and naysayers cause us to lose faith in our city, in ourselves, and in each other. Much of the negative propaganda with which we are bombarded is calculated to disarm us. Without love and without hope there can be no future for anyone.”
— Coleman A. YoungPublic Viewing is more like a public passing―the passing of people by the former mayor, the passage out, back to the open air of life. The doors are a metaphor for death itself, opening just enough, then too much. The circle of life, the ushering out of life, the reductive power of it all; to a small color photo on one side and a bio on the other. A rememberance of a day perhaps more than the man. A day when thousands stood in the freezing rain for one last glimpse. A chance for families to stay connected through their shared grief or rejoicement. Entering one space after leaving another, the doors anchor the commotion and direct the flow at a randomly dispersed rate, sometimes trickling, mostly pouring, constantly coming through anothers life into their own.
