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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
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 As Big As The Sky by Seth Adam Cook. Seth Cook
When my brother and I were young, our mother would say she loved us “bunches and bunches, as big as the sky.” This phrase stayed with me throughout my life, but it wasn’t until she passed away that I truly understood its significance. Just before her surgery, my mother gave me a camera that she had carried with her since she was young. Despite our closeness, I never knew about this part of her life. With her camera in hand, I began navigating a stream of consciousness around the places, people, and emotions I found myself surrounded by. Her camera became a tool for me to navigate my grief and reflect on the spiritual absence in my family following her death. Since its origins, this series has become a personal and emotional exploration of loss, memory and identity, and is my way of holding onto her memory and the shared passion we had for photography.
Currently exhibited at The Photographers’ Gallery in London, Craig Atkinson’s Café Royal Books presents an eclectic collection of social relics where regional pasts intermingle, and previously unseen or half-remembered social histories are vividly recalled. With a sense of relative authenticity, the exhibition invites viewers to delve through a collection of three hundred books that capture past lives through the lens of another. David Moore reflects on the display and the project’s position among the ongoing reassessment of documentary photography.
Currently exhibited at The Photographers’ Gallery in London, Craig Atkinson’s Café Royal Books presents an eclectic collection of social relics where regional pasts intermingle, and previously unseen or half-remembered social histories are vividly recalled. With a sense of relative authenticity, the exhibition invites viewers to delve through a collection of three hundred books that capture past lives through the lens of another. David Moore reflects on the display and the project’s position among the ongoing reassessment of documentary photography.
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 Personal History by Sarah Malakoff. Sarah Malakoff creates large-scale color photographs
I have been photographing interior spaces for a very long time and find that different themes and threads interest me as I work. My first book, Second Nature, looked at the home as both a refuge from and a reinvention of the outside, natural world. While shooting, other objects started catching my attention. I noticed portraits displayed in the home and was fascinated by who they represent, what the connection might be to the occupant, and the relationship to other items and architecture. A good number of the portraits, much more than I would have thought, were of figures from history- Marie Antoinette, Napoleon, Yuri Gagarin. With this in mind, I started looking for other possessions that reference historical events and locations. I found these things and their placement within the home variously humorous, touching, and sometimes disturbing.