I learned about Alec Soth’s work right when I was starting my sophomore year in college when I was studying photography. A professor showed me his work for the first time through a photobook (A small version of Sleeping by the Mississippi contained inside
Elliott Erwitt, Zun Lee, Alec Soth, and more on the turning points in their photographs—from global and national events to the most personal moments.
Turning points in the lives and works of photographers often span the extremes—from global and national events to the most personal moments. Photographers such as Alec Soth and Zun Lee are able to not only bear witness to events that shape our collective history, but also to map more intimate transitions within their craft and their everyday lives.
When should you bring a photographic project to an end? LaToya Ruby Frazier, Justine Kurland, Alec Soth, and more reflect on how to know when a series of work is complete.
Over the course of her career, curator and lecturer Sasha Wolf has heard countless young photographers say they often feel adrift in their own practices, wondering if they are doing it the “right” way. This inspired her to seek out insights from a wide range of photographers about their approaches to making photographs and a sustained a body of work, which are brought together in PhotoWork: Forty Photographers on Process and Practice. Structured as a Proust-like questionnaire, the responses from both established and newly emerging photographers reveal that there is no single path. Below, eleven artists respond to the question: How do you know when a body of work is finished?
Navel gazing can get a little old, so, in the coming weeks (months?), as we find ourselves counting the hours till lunchtime on the sofa, we look for...
Edited by Jason Fulford and Gregory Halpern and published by Aperture, The Photographer's Playbook contains advice, exercises and insight from John Baldessari, Tim Barber, Philip-Lorca diCorcia, Jim Goldberg, Miranda July, Susan Meiselas, Alessandra Sanguinetti, Stephen Shore, Alec Soth, Mark Steinmetz, Roger Ballen, David Campany, Asger Carlson, Ari Marcopoulos, Todd Hido, and many more. —Text compiled by Alex Nicholson
All across Australia, bushfires are burning at an unprecedented scale. On January 14, the Australian government announced that the fires have devastated estimated 46 million acres (72,000 square miles), killing…
Laurence Watts, a photographic artist currently based in Melbourne, Australia, has organized the Bushfire Photo Appeal, an online sale of photographing prints to raise money for the Country Fire Authority’s Bushfire Disaster Appeal, which goes directly to the regional organizations fighting the blazes, and the Fire Relief Fund for First Nations Communities, coordinated by Yorta Yorta activist Neil Morris, which provides culturally sensitive support to First Nations peoples impacted by the fires.
What comes first–the idea for a project, or the images themselves?
Over the course of her career, curator and lecturer Sasha Wolf has heard countless young photographers say they often feel adrift in their own practices, wondering if they are doing it the “right” way. She was inspired to seek insight from a wide range of photographers about their approaches to making photographs, and, more important, a sustained body of work. Their responses are compiled in PhotoWork: Forty Photographers on Process and Practice. Below, twelve artists respond to the first question in the interview series:
The photographer talks with Hanya Yanagihara about the often unsettling power dynamic of taking a person’s picture — and their shared love of the artists who do it so well.
Ahead of his latest solo show and book, the photographer talks with T’s Hanya Yanagihara about the often unsettling power dynamic of taking a person’s picture, and their shared love of the artists who do it so well.
Sleeping by The Mississippi by Alec Soth is one of the defining publications in the photobook era. First published by Steidl in 2004, it was American photographer Alec Soth’s first book, sold through three editions, and established him as one of the leading lights of contemporary photographic practice. This MACK edition launches to coincide with the first exhibition in London dedicated to the series at Beetles+Huxley gallery, and includes two photographs that were not included in the previous versions of the book.
On September 7th, San Francisco Camerawork opens the exhibition, Begin Anywhere. It's a unique curation about mentorship and artistic collaboration*. Curated by Monique Deschaines, Begin Anywhere explores "the possibilities and influence of artistic mento
Opening September 7th, San Francisco Camerawork opens the exhibition, Begin Anywhere. It’s a unique curation about mentorship and artistic collaboration*. Curated by Monique Deschaines, Begin Anywhere explores “the possibilities and influence of artistic mentorship, tracing the paths of visual thinking exchanged among artists and how ideas are developed and manifested in the process of an evolving artistic practice”. At the core of this exhibition is selected work by three artists Amanda Boe, McNair Evans, and Kevin Kunishi along with collaborative projects with their mentors – Jason Fulford, Todd Hido, Mark Mahaney, Mike Smith, and Alec Soth.The opening reception if from 6-8pm and the exhibition runs through October 14th, 2017.
Photographers Adam Lach and Alec Soth share their work in our annual photo issue.
For our annual photo issue we reached out to 16 up-and-coming photographers and asked them which photographer inspired them to pursue the medium. Then we approached their "idols" to see if they would be willing to publish work in the issue as well. What was provided, we think, creates a unique conversation about the line of influence between young artists and those more established in their careers. This post features an interview with Adam Lach and his chosen idol, Alec Soth, and an explanation of each of their bodies of work.
AS: That’s a tough one, and I love processing Szarkowski quotes. He also talked about how photography, on a mental level, is just pointing. It’s just pointing your finger, and saying, “look at that.” And when you point to something you’re not showing the molecules, you’re not showing its history, its ‘everything.’ You’re showing this thing in this context, in this fraction of a second, in this light. Everything beneath the surface exists, but it’s imagined. And one has to come to terms with that.
As for his MFA students who may be less concerned about creative freedom and more worried about a career, he advises: “First of all, it is hard. And I’ve had tons of missteps along the way,” he says. “That’s the thing about being creative. You come up with creative solutions to problems. And that’s not just in your work, but in life.”