In the liminal space between mountains and rivers, Yan Sun creates images suffused with Chinese history, renewing the subjects of traditional painting with his contemporary photographic observation
We are re-running last year’s MOTHER exhibition, just for fun! What a complete pleasure to spend time with your hundreds of submissions and see all the considerations of MOTHER. Thank you for joining in this 5 part exhibition, so keep scrolling. For those who celebrate, Happy Mother’s Day, and for those who don’t, thank you
Copyright holders can claim damages for copyright infringements that occurred years or even decades ago, the U.S. Supreme Court has clarified. In a majority decision, the Court rejected the lower court’s argument that there’s a three-year time limit for damages. Older claims are fair game, as long as the lawsuit is filed within three years of ‘discovering’ an infringement.
(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
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
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.
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.