“Martha: A Picture Story” turns on the camera Martha Cooper, A photographer who captured the era when metro cars covered with graffiti devastated New York, and were among the first to give serious consideration to the artists involved in those vehicles. Cooper’s 1984 book “Subway Art”, with “Henry Cholfant” photographer, developed an international underground, providing a stylistic template – Cooper’s word for the will of Cooper’s authors –
Cooper and his collaborators take us to this documentary directed by Celina Miles Through his careerFrom a stint at the Peace Corps in Thailand, snapping up street scenes for The New York Post. Now he has cooper in his 70s still working, And Miles wanted to give him a document of a neighborhood in his hometown of southwest Baltimore. (“Martha: A Picture Story” can be used more as an interaction between the subject and the film crew, at one point Cooper asks that the film camera be turned off – he first gains confidence in his subjects Have to do.)
Cooper is oblivious to the risk. Near the beginning and the end, we see the artists walking on the road with him on a mission to Germany. She has the poignancy of seeing her memories with Jiffin (popularly known as JSon), a graffiti artist and historian, at a clean metro station in the Bronx.
The film does a good job of explaining Cooper’s nature. (An editor who tried to give him a picture of pollen for National Geographic, which was not a great fit.) Ultimately, photographs are a thing. A traditional biographical portrait seems almost meaningless. Cooper has already documented his life story.