Tag Archives: Kansas City Mo

Public Assembly: The Photographs of Mike Sinclair

For this week’s issue, we combed countless archives in search of the perfect photograph to accompany a history of the American Dream, the subject of the cover story by Jon Meacham. In the end, we turned to photographer Mike Sinclair, who’s been rigorously documenting America’s heartland near his home in Kansas City, Mo. When asked about his photos, he modestly says, “I never really set out to photograph the American Dream or western culture. These are not projects. The edits come out of thinking about themes. I like going through my work and then figuring it out.”

For more than 30 years, Sinclair has documented places where people gather, like state fairs, sporting events and parks. “I grew up in the heyday of LIFE and photojournalism. I realized early on that I was better at visual things,” he tells TIME.

Sinclair decided to pursue journalism at the University of Missouri, but after one year, he realized that it wasn’t a great fit. “I came under the spell of Winogrand and Friedlander and found them more interesting as a budding photojournalist. I eventually went to Southern Illinois University, where they had an undergraduate program in fine art photography. Once I got there, I was in heaven—it combined my interest in the fine arts and photography.”

“I just like everything about taking photos and going to these events. It’s a great counterpoint to photographing modern architecture,” says Sinclair, who does the job professionally to make a living between his documentary projects. All of his images reflect the rigor of an architectural photographer with the straightforward style of masters like Walker Evans, Joel Sternfeld and Stephen Shore.

“I switched to architecture because I thought after 30 or 40 years I’d have some kind of record of this time and what happened,” he explains.

Sinclair’s understated and introverted approach to documenting an event feels easygoing, placing viewers in the shoes of a local rather than an outsider. He photographs on trips he plans and usually goes with his family. “I kind of plant the camera in front of people and spend time with them,” he says. In all his images, he almost feels invisible.

Sinclair has no real plans for his work except to keep making it. In the beginning, he says, “I first shared the work to the owner of the Dolphin Gallery in Kansas City and was encouraged by him to show it [elsewhere]. Eventually, through them, my work found its way into collections around the country.” These collections include The Museum of Fine Arts, Houston, the Kemper Museum of Contemporary Art in Kansas City, and the Nelson-Atkins Museum of Art, also in Kansas City.

Sinclair disagrees when people label him as a certain type of photographer. “I don’t think of myself as a Midwestern photographer. I think the same sort of things happen everywhere I’ve been.” His image of the Fourth of July (featured above) speaks to his claim—it feels like it could represent almost anywhere in America.

“Part of what I’m interested in is this idea of public space and the preciousness of it. It’s something that we all need,” he says.

Mike Sinclair is a photographer based in Kansas City, Missouri. His current exhibition ‘Public Assembly’ is on view at Jen Bekman Projects in New York City until June 24. 

Behind the Cover: Are You Mom Enough?

The subjects on this week’s TIME cover aren’t models in pose. Jamie Lynne Grumet, photographed by Martin Schoeller with her 3-year-old son, is a mother from Los Angeles who subscribes to attachment parenting, the subject of staff writer Kate Pickert’s cover story. Attachment parenting has been on the rise over the last two decades, since the publication of The Baby Book by Dr. Bill Sears and his wife, Martha, in 1992. Its three main tenets are extended breast-feeding, co-sleeping and “baby wearing,” in which infants are physically attached to their parents by slings.

TIME

Visual references of mother and child, at the cover shoot.

In one day, Schoeller photographed four families from across the country who practice this method of motherhood. Using religious images of the Madonna and Child as reference, Schoeller captured each mother breast-feeding her child or children. “When you think of breast-feeding, you think of mothers holding their children, which was impossible with some of these older kids,” Schoeller says. “I liked the idea of having the kids standing up to underline the point that this was an uncommon situation.”

The four mothers photographed by Schoeller were all familiar with The Baby Book, but adopted the parenting philosophy for their own reasons. For Grumet, the decision was a natural extension of how she’d been raised; she was the daughter of attached parents and her older sister also practices the method as well. “I grew up this way and never thought about raising my kids differently,” she says.

While pregnant, Dionna Ford, who lives in Kansas City, Mo., watched a video of a British woman breastfeeding her 7-year-old daughter. Ford thought she could never do the same—until she discovered how difficult it was to wean her own son off breast milk. “After six months, I decided I’d wait until he turned 1,” she says. “But after my baby turned a year old, he was still a baby—not talking, barely walking—and I wondered why I’d stop now.”

Capturing various attached parents—and their reasons for attachment parenting—was Schoeller’s biggest goal for the sitting. “It was important to show that there’s no stereotypical look for a mom who practices this kind of parenting,” Schoeller says.

Read the Cover Story: “The Man Who Remade Motherhood”