(Stranger Fruit by Jon Henry published by Monolith Editions. Stranger Fruit sold out in six weeks, and went into a second edition, with solo shows at Abakus Projects, UCR Arts and Photographic Center Northwest, and press including, the Boston Globe, Hyperallergic, Dazed UK, the Gaudian and selected as one of the best photo books of
The interesting books design an experience that is rooted in the projects concept and narrative. The design language echoes the content and clarifies and strengthens the work. Every detail contributes to the experiential arc.
She may be America’s foremost social documentary photographer, now with a survey at the Museum of Modern Art. “All I’m doing is showing up as a vessel.”
She may be America’s foremost social documentary photographer, now with a survey at the Museum of Modern Art. “All I’m doing is showing up as a vessel.”
Bedford Gallery has recently opened its latest exhibition, Re-Discovering Native America: Stories in Motion with The Red Road Project, a photo-docuseries which highlights and celebrates inspiring stories of present-day NativeAmerican individuals and communities by providing a platform for them to tell their stories of the past, present, and future in their own voices and words
Since founding the Red Road Project in 2013, multicultural friend-and-artist duo Danielle SeeWalker (Hunkpapa and Oglala Lakota) and Carlotta Cardana, who was born and raised in Northern Italy, have been committed to documenting the stories and teachings of contemporary Native people and communities who are enacting positive change and celebrating their cultural heritage despite the long, complicated historical trauma faced by Indigenous communities in the United
From person-to-person coaching and intensive hands-on seminars to interactive online courses and media reporting, Poynter helps journalists sharpen skills and elevate storytelling throughout their careers.
The Pulitzer Board’s citation called the AP’s work “poignant photographs chronicling unprecedented masses of migrants and their arduous journey north from Colombia to the border of the United States.”
Debuting its tour at the Herbert Art Gallery & Museum in Coventry, After the End of History: British Working Class Photography 1998–2024has been curated by writer and photographer Johny Pitts, with the exhibition’s title wittily alluding to Francis Fukuyama’s essay titled The End of History, citing his unfulfilled anticipation of global stability. As Lillian Wilkie examines, Pitts navigates the sociocultural turn of neoliberalism and creates a space for multiple, even conflicting truths of working-class life, challenging the dominance of singular historical narratives and entrenched social hierarchies.
Debuting its tour at the Herbert Art Gallery & Museum in Coventry, After the End of History: British Working Class Photography 1998–2024, has been curated by writer and photographer Johny Pitts, with the exhibition’s title wittily alluding to Francis Fukuyama’s essay titled The End of History, citing an unfulfilled anticipation of global stability. As Lillian Wilkie examines, Pitts navigates the sociocultural turn of neoliberalism and creates a space for multiple, even conflicting truths of working-class life, challenging the dominance of singular historical narratives and entrenched social hierarchies.
But a project, and I think this aspect is widely acknowledged, creates a problem: when do you end it? If you’re shoehorned into a time schedule by your teacher, that will give you a parameter. Of course, everybody knows that your project might not in fact be done in a semester or year. In addition, the inclination by many photographers is to let projects run longer than they need to. The right point when to finish it is often difficult to find.
It’s estimated that more than 50% of Gaza’s buildings have been destroyed or damaged and approximately 1.7 million people have been displaced since the offensive began
Photographer Mohammed Salem with Reuters captured the arresting prize-winning image in Palestine. Captured just days after his wife gave birth, Salem’s image shows Inas Abu Maamar, age 36, holding the body of her niece, Saly, five, who was killed along with her mother and sister by an Israeli missile strike near their home in Khan Younis, Gaza.
The Imperial War Museum in London is opening an exhibition dedicated to the work of the British photographer, who died in 2011 aged 40 while covering the Libyan civil war
The Imperial War Museum in London is opening an exhibition dedicated to the work of the British photographer, who died in 2011 aged 40 while covering the Libyan civil war
Some of the portraits in “This Train” have an Edenic quality to them, as if Kurland is asking: What if my kid and I were the only two people in the world?
Some of the portraits in “This Train” have an Edenic quality to them, as if Kurland is asking: What if my kid and I were the only two people in the world?
In his new book, Hardtack, Rahim Fortune compiles nearly a decade of work, blending documentary with personal history within the context of post-emancipation America. Through coming-of-age portraits that traverse survivalism and land migration, Fortune illustrates African American and Chickasaw Nation communities. As Taous Dahmani observes, the iconography of the American South is drawn between Fortune’s Hardtack and Beyonce’s Cowboy Carter, released only a few days after — both of which raise questions that serve to redefine ‘Americana’.
In his new book, Hardtack, Rahim Fortune compiles nearly a decade of work, blending documentary with personal history within the context of post-emancipation America. Through coming-of-age portraits that traverse survivalism and land migration, Fortune illustrates African American and Chickasaw Nation communities. As Taous Dahmani observes, the iconography of the American South is drawn between Fortune’s Hardtack and Beyonce’s Cowboy Carter, released only a few days after — both of which raise questions that serve to redefine ‘Americana’.
This week we are looking at the work of artists who submitted projects during our last call-for-entries–way back in late-2022 (a new call will be going out sometime in the near future, so stay tuned for details…). Today we are viewing and hearing more about A Natural History (Built to be Seen) by Austin Cullen. Austin
The motivation for my project stems from a childhood interest in museums, and an earlier body of work. When I was younger I regularly visited the Houston Museum of Natural History. The museum showed me a version of nature that was completely different from the city I grew up in. Instead of the urban bayou that I was used to, the museum depicted safaris, jungles, deep sea life, and so much more. In the museum, nature did not feel like something we as humans lived in, but instead a distant spectacle. It taught me about the larger world around me, and it left me awestruck by the far-off places and creatures the museum contained