I have shared the work of Brooklyn born photographer Robert Herman several times over the years, so I was distraught to learn that this wonderful artist recently took his own life. I remember him sharing that as a young man, Robert began working as an ush
I was dismayed to hear that the remarkable Judy Gelles passed away recently. She had a profound sense of humanity, combined with wonderful humor, and unique way of looking at the world, especially her own life and family. In fact, she was a truth teller.
Mofokeng, who died in January, made work that waded through themes of history and land, and helped shape the course of South African photography.
These images, by the South African photographer Santu Mofokeng, ostensibly depict scenes of segregated transport during apartheid. Yet in their composition they evoke something more: the rhythms and textures of everyday life. Taken from within and among a crowd of commuters, the pictures seem to sway with the velocity of the train carriage. Shards of light blur the edges of figures, interplaying with shifting shadows as passengers move in unison. Titled “Train Church,” Mofokeng’s series was made during a few weeks in 1986, and in South Africa it became veritably synonymous with his name. Mofokeng, who died in January, at the age of sixty-three, was a photographer whose body of work—both images and text—waded through themes of history and land, memory and spirituality, and helped shape the course of South African photography.
His sublime black-and-white images of everyday life in South Africa both during and after white rule capture hope and unfulfilled expectations.
Santu Mofokeng, a photographer whose searing images of everyday life in South Africa’s black townships documented the prospects of freedom from apartheid and the unfulfilled promise of its overthrow, died on Jan. 26 in Johannesburg. He was 63.
Condolences continue to pour in for legendary photographer who died at the weekend surrounded by his family in Soweto.
Art critic Sandile Ngidi tweeted: "South African documentary photography has lost one of its brightest stars. Santu Mofokeng belonged to a committed generation of photographers that gained prominence in the 'alternative media' in the 1980s and 1990s. This series is on 'train churches'. Salutes!"
Collaborator of Jean-Philippe Charbonnier, reporter for Réalités magazine, Niepce 1962 award, distributed by the Dalmas photo agency then Rapho and today by Gamma-Rapho agency, Jean-Louis Swiners left us between two parties scoffing at life he loved so much.
As a photographer he shot defining images of Southern California; as an editor he looked for images that told stories about the world.
Alan Hagman, a veteran Los Angeles Times photographer who captured defining Southern California images with his camera and as an editor relied on a skilled eye to tell stories from Seattle to Singapore with powerful and arresting pictures, has died at his home in Long Beach.
It has been two weeks of constant loss in the photo industry. First we lost Peter Lindbergh, then Robert Frank, and now Charlie Cole, the American
now Charlie Cole, the American photojournalist behind one of the four iconic Tank Man photos taken during the infamous 1989 Tiananmen Square protests in Beijing, has also passed away. Cole was 64 years old
The array of moments that Frank captured and presented is a statement on the broad, unwieldy idea on which the nation is premised.
nation that is premised on an idea—not on an alleged shared bloodline or eons of history on common acreage—is prone to periodically question exactly who and what it is. The matter that binds Americans, as much as any doctrine or document, is the pursuit of a definition of who Americans are. There are facile adjectives applied to us—optimistic, volatile, swaggering—but they more often seem to apply to pretensions that we wear before the world. Who we are in our unguarded moments, and even what portion of people are included in the word we, is another matter entirely. This is part of the reason that Robert Frank’s photographic essay “The Americans,” published in France in 1958 and released in the U.S. a year later, is both an indelible reflection of American culture and one of the works that helped define it. To produce it, Frank, who died this week, at the age of ninety-four, spent two years scouring the country in a used car, courtesy of a Guggenheim grant, a contrail of dust his most constant companion.
Danziger Gallery presents an exhibition devoted to Robert Frank American photographs, his best known and arguably most important work. The exhibition will be comprised of 40 photographs – 15 from Frank’s seminal book “The Americans” (now celebrating the 60th anniversary of its American publication) and 25 unpublished works from Frank’s travels at the time.