Book Review I'm Looking Through You Photographs by Tim Davis Reviewed by Blake Andrews “'I’m pretty good at photography,' states Tim ...
“I’m pretty good at photography,” states Tim Davis toward the end of his new monograph I’m Looking Through You. “I’m, like, good at it.” Such a boast would be hyperbole coming from most photographers. But Davis has the goods to back it up. Coming from him the declaration is merely another clear-eyed fact like the pictures it accompanies. Davis shot them in and around Los Angeles over the course of a few years between 2017 and 2019.
In an eloquent new photobook, Sandra S. Phillips considers how photographers envision the intertwined histories of land use, colonialism, and the built environment.
When Sandra S. Phillips was named curator emerita of photography at the San Francisco Museum of Modern Art in 2016, after three very busy decades leading the department, she had no intention of slowing down. In fact, she was actively at work on what fairly can be called the most ambitious project of her career to date: American Geography: Photographs of Land Use from 1840 to the Present, an exhibition scheduled to appear at SFMOMA in 2020. Lamentably, the exhibition itself was a casualty of the coronavirus pandemic, but the accompanying publication—much more than a catalogue—was published earlier this year by Radius Books in Santa Fe.
I was confronted with three parts of a mental soundtrack while paging through Thiago Dezan's new book When I Hear The That Trumpet Sound (Selo Turvo, 2021, ed. 200). The first track based on title and the book's black endpapers and the ominous black cover
Cai Dongdong History of Life Captured through the eyes of ordinary Chinese citizens before, during, and after the cultural revolution and curated by one of China’s most talented visual artist…
Captured through the eyes of ordinary Chinese citizens before, during, and after the cultural revolution and curated by one of China’s most talented visual artists, “History of Life” presents a fascinating story on the determination of the human spirit. A collection of 415 restored photographs chronicling the history of modern China from the 1910s to the late 1990s.
Over a period of fifteen years, Michael von Graffenried documented the daily life of New Bern, North Carolina. This long-term project, published this spring with Steidl, is on view May 19–20 at the newly opened Espace MVG in Paris.
Curated by Efrem Zelony-Mindell, this book surveys the rich and elastic world of black-and-white photography via the works of over 140 artists and essays from Zelony-Mindell, David Campany, and Gregory Eddi-Jones
Weaving its way from landscape to portrait, still life to assemblage, Primal Sight takes a near encyclopedic approach to sight itself. From Ally Caple’s quiet but forceful portrait Jasmine in Home Studio to Anastasia Samoylova’s dimensional Black and White Mountain, the viewer is led through multiple iterations of what a photograph can be. A survey, whether an exhibition or a book, is a hard format to get right. What is enough and how much is too much?
Puppy love, cafeteria jousting, and other scenes from a public school in Bushwick in the eighties and early nineties.
Between 1981 and 1994, the photographer Meryl Meisler worked as an art teacher in Bushwick, Brooklyn, at Roland Hayes Intermediate School 291. In a new book, “New York: PARADISE LOST Bushwick Era Disco,” out in June, she collects photos that she took of her students and colleagues during those years—the Menudo fans, the puppy love, the cafeteria jousting, the sneaker style, and a bit of teacher trash-talking. “The students were on the pulse of popular culture, exuded youthful pride, and could challenge one’s wits,” she said recently. Meisler (who’d previously photographed the disco scene and her own family on Long Island) eventually moved to a school in Manhattan, where she continued to teach—and take pictures—until 2010. Her photography from three decades inside the city’s public schools is her largest unseen body of work. “I still get teacher nightmares,” she said.
The London-based photographer is always up for a challenge, and her new book – made in lockdown and published by Art Paper Editions – proves just that.
Katie Burnett never thought she’d become a photographer. Instead, she found herself naturally gravitating towards art, making things in her spare time from a small town in Missouri. “I am very dyslexic so, for me, painting, drawing and making things were always what I excelled in at school,” she tells It’s Nice That
In his recent manifesto, Jörg Colberg takes aim at three prominent photographers for their "visual propaganda."
That said, what are the “identical” mechanisms Colberg suggests that link these artists to their socialist-realist predecessors? Leibovitz, Crewdson, and Gursky produce a kind of capitalist propaganda that, like socialist realism, “does not aim to depict an actually existing reality but instead presents a code that can be read by its intended spectators.” Colberg derives his description of socialist realism from art historian Boris Groys, who suggests that this code entails stories about heroes, demons, transcendental events, and real-world consequences that serve the messaging needs of the powerful. In this formulation, Colberg’s neoliberal realists make images that perpetuate, or even celebrate, unjust power structures.
In 2012, British photographer Mark Power embarked on an ambition journey: Good Morning America, a visual narrative of the United States, spanning over five books and ten years. One way to undertake such a project would be to follow thematic or geographica