The home-turned-museum of Alice Austen, one of America’s earliest and most prolific female photographers, will receive thousands of her original images and negatives.
German artists have often used typologies to help us understand the world. But an exhibition in Milan parades photography’s failures: to document, to mourn, to bend experience into arcs of narrative.
I’m So Happy You Are Here, a travelling exhibition and accompanying book, showcases seminal works by Japanese women photographers from the 1950s onward, underscoring their often overlooked contributions. Published by Aperture, it features 25 portfolios, an illustrated bibliography curated by Marc Feustel and Russet Lederman, and essays from a range of writers, including Carrie Cushman and Kelly Midori McCormick. Ahead of the exhibition at Fotografie Forum Frankfurt, Germany, Roula Seikaly speaks with curators Lesley A. Martin, Pauline Vermare and Takeuchi Mariko about their expansive collaboration, key works that informed the project and the importance of centring individual women’s stories in Japanese photographic history.
I’m So Happy You Are Here, a travelling exhibition and accompanying book, showcases seminal works by Japanese women photographers from the 1950s onward, underscoring their often overlooked contributions. Published by Aperture, it features 25 portfolios, an illustrated bibliography curated by Marc Feustel and Russet Lederman, and essays from a range of writers, including Carrie Cushman and Kelly Midori McCormick. Roula Seikaly speaks with curators Lesley A. Martin, Pauline Vermare and Takeuchi Mariko about their expansive collaboration, key works that informed the project and the importance of centring individual women’s stories in Japanese photographic history.
Matthew Genitempo is someone I consider a friend. A friend whose work has long been an inspiration for me. When he and I started talking about doing something for Lenscratch, it was his suggestion that we put our work in conversation. Our books—Dogbreath and A Poor Sort of Memory—were made in different deserts, but explore
Our books—Dogbreath and A Poor Sort of Memory—were made in different deserts, but explore similar territory. Both are portraits of coming of age through a tangle of grief, nostalgia, and the psychic residue of place. What started as a conversation about our individual processes turned into something deeper: a dialogue between two bodies of work that seem to be speaking the same language, just with different accents. I am happy to share this space with Matt and our conversation with all of you.
From the gritty realism of the miners’ strike and anti-racist protests to the subversive art of staged portraits and image-text works, Tate Britain’s latest show, The 80s: Photographing Britain, attempts to bring to life a decade shaped by Thatcher-era turbulence, revealing the stark divisions within photography throughout the process. Yet, with nearly 350 images from over 70 photographers, Mark Durden asks if Tate Britain has taken on an impossible challenge?
From the gritty realism of the miners’ strike and anti-racist protests to the subversive art of staged portraits and image-text works, Tate Britain’s latest show, The 80s: Photographing Britain, attempts to bring to life a decade shaped by Thatcher-era turbulence, revealing the stark divisions within photography throughout the process. Yet, with nearly 350 images from over 70 photographers, Mark Durden asks if Tate Britain has taken on an impossible challenge?
It was so wonderful to return to New Orleans this past December and celebrate all things photographic during PhotoNOLA. Today we share some of the highlights of the events, and discuss the Portfolio Reviews from both sides of the table. I was a reviewer and Lenscratch Editor, Karen Bullock was a reviewee and had a chance
It was so wonderful to return to New Orleans this past December and celebrate all things photographic during PhotoNOLA. Today we share some of the highlights of the events, and discuss the Portfolio Reviews from both sides of the table. I was a reviewer and Lenscratch Editor, Karen Bullock was a reviewee and had a chance to chat with some of the participants about their experience.
We hope you take some time to explore their work. To all these photographers, and our LensCulture community, thank you for being a part of our journey. Cheers to another two decades of visionary discoveries!
Photojournalist Angus Mordant, whose images have been published in the New York Times and the Wall Street Journal, said he feared the merger would “create a monopoly that only stands to hurt photographers.” Mordant, who has not shot on assignment for Getty Images, echoed the criticism that the company has paid notoriously low rates over the years.
The rise of artificial intelligence has likely played a role in the merger; the combined assets of Shutterstock and Getty are a treasure trove of training data for AI companies
Every year we compile a list of Staff Favorites. We try to avoid “Best Of” lists as appreciation for the arts is so subjective and eveyone has a different opinion. The wide variety of selections featured today speaks to books, exhibitions, and artists (and a few recipes) that have resonated with our amazing staff. I
Every year we compile a list of Staff Favorites. We try to avoid “Best Of” lists as appreciation for the arts is so subjective and eveyone has a different opinion. The wide variety of selections featured today speaks to books, exhibitions, and artists (and a few recipes) that have resonated with our amazing staff.
A youthful obsession with Dorothea Lange’s Migrant Mother turns to frustration over how its subject, Florence Owens Thompson, an Indigenous woman, has been misperceived.
For a period of about three years during his mid-twenties, Sohrab Hura strived to be what he called an anti-photographer. Doubt had begun seeping into his work. In particular, he felt conflicted about the ways in which documentary photography generates images from other people’s
We Are Here is admirably diverse, and many of the pictures are great. Highlights include the lush, wacky, fashion-forward work that Feng Li has been making on the streets of Chengdu, China; Romuald Hazoumè’s cheeky sculptural typologies of laden bike riders in Benin; the oneiric pictures of 1990s Saint Petersburg by Alexey Titarenko; a collection of era-defining 1990s Japanese street-style pictures that Shoichi Aoki shot for his magazine FRUiTS; and exuberant pictures of children’s play in gritty 1970s New York by graffiti documentarian Martha Cooper, which elaborate on earlier projects by Helen Levitt and Arthur Leipzig. Yet the exhibition is also dogged by a nagging question: Is twenty-first-century street photography hopelessly outmoded?
The expansive catalog offers an essential compilation of essays, interviews, and profiles of Japanese women photographers from the 1950s through the present day.
