Eric Oglander estimates he’s spent 700 hours on Craigslist looking for pictures of mirrors. The New York artist has culled through countless advertisements made by regular people throughout the country, and he’s saved a few thousand of the most special ones.
For most of his life, Yassine Alaoui Ismaili didn’t know anything about street photography. But he knew a lot about the street.
For three years, photographer Erin Trieb has been covering the conflict against ISIS in northern Iraq. She followed Kurdish women fighters and shadowed some of the 5,000 U.S. soldiers involved in the fight against the extremist group. But, looking back at that work, the American photographer realized she hadn’t photographed “much of the beauty of Kurdish culture,” she tells TIME.
As it turned out, the package had been left for him by Betsy Evans, a friend of the late photographer Todd Webb, who left behind an extensive archive. Though the elusive photographer had never been at Life, Webb shared a time, a place, and a sensibility with those who had. He was friends with Life staffer Gordon Parks. He also worked and played alongside Walker Evans, Ansel Adams, Lisette Model, Berenice Abbott, and Alfred Stieglitz and Georgia O’Keeffe.
Photography by Ben Thomas
Mark Klett is a photographer and educator based in Arizona. The photographs from his series Time Studies explore the concept of time and space. Theories on this subject have been a topic of debate for physicists and philosophers throughout history, and an ongoing source of inspiration for artists.
These photographs were made between 1979 and 1986 when I was a young photographer living in Boston. In that pre-digital and less paranoid era, families – and especially children and teenagers – used to hang out in their neighborhoods
In his exhibition Opéra do Vento (Opera of Wind), which just opened at the Casa Triângulo in São Paulo, the Brazilian artist Nino Cais reminds us that we can laugh at everything, even photographs.
Documentary photographer and filmmaker Lauren Greenfield has been working for the past twenty-five years to chronicle a previously unprecedented global obsession with wealth and materialism. Remarkable in scope and depth, from Moscow high society to Atlanta strip club royalty, Greenfield’s photographs explore the desire for more and succeed in revealing gender dynamics, cult of celebrity, consumerism, power of sex and marketing, and their eventual consequences
While exploring Palm Springs, the charm of the mobile home parks pulled me in, encouraging me to look closer. Residents were surprisingly friendly to a stranger with a camera. I felt at home.
Jeffrey Wolin took the Indiana neighborhood of Pigeon Hill and turned it inside out for all to see. Transfixed by the characters in this impoverished neighborhood in the housing projects of Bloomington, Ind., he photographed them from 1987 to 1991. Their mullets and blowouts, incomparable. Many hold in their eyes the clarity and rawness of youth.
Larry then said something that stopped me in my tracks: “Isn’t imagination really the final measure of intelligence?” It was the most obvious thing in the world—and revelatory—but it had never occurred to me before. He seemed always to have such observations, casually offered, as if in an afterthought, and, because of it, I always found myself learning something when I was with him.
The search for home, or at least a sense of home, is always illusive. Alex Grabiec has created a narrative of familiar interiors and landscapes that combine into a photo album of sorts, providing images that don’t tell the story but add up into a collective memory
Distance and finances would keepThomas Kern from dropping everything and dashing to Haiti to cover the latest political or environmental crisis. While scores of journalists would descend on the island for brief trips, Mr. Kern — a freelance photographer who at times has lived in San Francisco or Switzerland over the last 20 years — had to take a different approach, slower and solo.
Salemi captures the crumbling remains of a small ship, marooned when the lake itself fled. Where once was water is now desiccated land, stretching to the far horizon. What is left seems more desolate than any desert, because the exposed lakebed contains the memory of the water it once supported. It is an image that seems to be from a far future, but was only taken last July. “In Iran you can see climate change in action,” says Salemi.
Focusing on the theme of “Main Street: a Crossroad of Cultures,” the exhibition, curated by Jerome De Perlinghi and co-curated by Catherine Coulter Lloyd and Régina Monfort, features the work of 100 photographers from 31 countries with an equal number of men and women. Among the artists included in this years’ edition are: the late Marc Riboud, Olivia Arthur, Linda Bournane-Engelberth, Omar Havana, James Nachtwey, Martin Parr, Eugene Richards, Gaia Squarci and Jo Ann Walters.