Italian photographer Alex Majoli documents the thin line between reality and theatre in a series of photographs, which will be on view from February 16 – April 1, 2017 at Howard Greenberg Gallery in New York. The photographs, made in Congo, Egypt, Greece, Germany, India, China, and Brazil between 2010 and 2016, explore the human condition and call into question darker elements of society. The title of the exhibition, SKĒNĒ, refers to a structure forming the backdrop of an ancient Greek theater
A Sense Of Place brings together the work of three Boston-area photographers whose images of interior spaces and exterior landscapes are charged with illuminating details and psychological content
When I asked Alexander Petrosyan to tell me why St. Petersburg is a great place for street photography, he answered honestly. It isn’t. It’s usually freezing, and the streets are never well-lit. The streets are mostly empty because everyone is always in a hurry to get someplace. He takes pictures here not because it’s easy but because it’s been his home for more than four decades.
On the eve of Donald Trump’s Inauguration, I rode the train from New York to Washington, D.C., with a book tucked in my bag like a private salve. The volume—a new photo collection by Peter van Agtmael, called “Buzzing at the Sill”—doesn’t radiate comfort in any obvious sense. Its cover is ominous: a copper image of a buzzard with its wings outstretched; we learn, from the book’s text, that the bird banged at the window of a U.S. military hospital in Texas, where soldiers, badly burned in Iraq and Afghanistan, struggled to recuperate
French photographer Emmanuel Monzon thinks living in the United States is like living inside a painting. In his meticulously crafted American scenes, all humans have vacated the premises, leaving behind only the background they once inhabited.
Six exhibitions that blew us away
Greg Brophy’s series, The Iron Triangle, pays homage to the disappearing steel-clad landscape and the working class champions of Willets Point, Queens, New York. Brophy set out to photograph the neighborhood to document the area before sanitized, and homogenous structures displace the current social fabric in a proposed redevelopment by the city. Unfortunately, a convention center or sterile shopping center will soon take its place.
Legends of the Sandbar is an homage to the surf culture of the Outer Banks of North Carolina, written and photographed by Christopher Bickford. It is an ode to the wild and wooly weather of the Banks, their shape-shifting sandscapes, their salt-battered architecture, and the commitment of a waterlogged band of misfits to a life lived on the fringes of American civilization. It is a portrait of a place, a people, and a passion, a drama set upon a wayward string of earth dangling on the edge of the continental shelf. It bears testimony to the raw beauty of lives lived close to the edge, the kinetic artistry of surfing in a challenging aquatic environment, and the ragged glory of a boondock community tuned to the savage power of the storm-tossed Atlantic Ocean.
London-based photographer Marco Barbieri has always been interested in countries where politics and religion play a central role in people’s lives. He decided to travel to Uzbekistan after seeing images from the disappearing Aral Sea, but his initial plan became much more than he thought it would. His photo series Water in the Desert places water in the country’s broader context, and reveals how a dictatorship can turn logic upside down and make the absurd an acceptable part of daily life.
From 1948 until his forced retirement in 1979, the Mexican photographer Enrique Metinides took thousands of images and followed hundreds of stories in and around Mexico City. And what images and stories they were: car wrecks and train derailments, a bi-plane crashed on to a roof, street stabbings and shootings in the park, apartments and petrol stations set alight, earthquakes, accidental explosions, suicides, manslaughters, murder.
More often than not, photography coming out of India tends to focus on the “exotic.” We’ve seen the pictures many times before — people performing religious rites in the Ganges River or huge gatherings like the Kumb Mela. So it is refreshing to see work that diverges from this path. Swarat Ghosh’s photographs of street scenes in India do just that
ISIS also proposes to offer a better, more meaningful life to its followers while it plans and supports deadly mayhem. It skillfully uses both positive and negative propaganda, which is blasted across multiple online platforms in endless streams of photographs, videos, podcasts, and texts
It also includes images that have sparked a near-instant virality, fleetingly igniting the world’s attention, yet burning deeply enough in virtual space to affect real-world policies. Some content circulates on robust networks not visible to the public at large: the surveillance systems of governmental bodies, and the networks of migrants themselves, whose smartphones are survival tools.
Smithsonian (Matt Black) journeyed from Maine to California to update a landmark study of American life
When the Globe and Mail, one of Canada’s national newspapers, made plans to move to smaller and more modern premises, the fate of its photo archives was uncertain. Rumor had it that the new building wouldn’t be able to support the physical weight of the roughly 750,000 prints that were produced before digital photography became the norm. The Archive of Modern Conflict, funded by David Thomson, the chairman of both the daily publication and of Thomson Reuters, came to the rescue.
The 16th edition of the Taylor Wessing Photographic Portrait Prize highlights a diversity of techniques and formats in contemporary photography. Among the total of 4303 images by 1842 photographers, the judges have chosen 57 with the intention of showing a wide range of representations of the other. The visitor thus has the opportunity to discover a fantastic selection of portraits that challenge this “genre” in photography, the process of its production, and its interpretation.
An extensive exhibition of photographs from key moments of the Civil Rights movement by American documentary photographer Steve Schapiro is starting on February 10 at Monroe Gallery, in Santa Fe.
For some people, the idea of “serious” photography conjures up dramatic scenes of suffering, violence and poverty. This can be especially so in parts of Latin America and Africa, where careers have been made by foreign journalists who go in looking for drama. While no doubt there are pressing issues in these regions, there are also scenes of daily life, or less dramatic situations, that go unnoticed, slanting how a global audience sees people and places.
For his series of panoramic images, titled “Heat Maps,” the photographer Richard Mosse co-opted these capabilities for a different purpose. In 2016, Mosse visited routes commonly travelled by refugees—from the Persian Gulf to Berlin, and from northern Niger to the now-cleared Jungle camp in Calais, France—and used a military-grade infrared camera to document scenes along the way.
Classic Photographs Los Angeles is the comfort food of photography fairs: warm and satisfying, a kinder, gentler throwback to the hotel fairs of the early 1980’s. The Unseen Eye was there to get out of New York and to take a look, do a walkthrough and book signing. He had a yummy time. The set up at Bonham’s was modest and handsome, a quiet setting for a collegial weekend during which two dozen veteran dealers could genuinely engage with clients and, for much of the time, with each other. The Women’s March and the torrential rains may have had a dampening effect on attendance, but the audience seemed engaged and left fully sated.