Pictures from Rosalind Fox Solomon’s The Forgotten introduce us to people who are chained to events in history that have permanently affected how they…
Pictures from Rosalind Fox Solomon’s The Forgotten introduce us to people who are chained to events in history that have permanently affected how they live. These events can never be forgotten. They often register on the body. They act as a reminder of incidents that others would like to forget.
Happy Thanksgiving! After two years of covid and quaranting, this wonderful exhibition of family gatherings past and present, remind us of what is important: being with ones you love, being thankful for the goodness in the world, and enjoying a meal toget
Happy Thanksgiving! After two years of covid and quaranting, this wonderful exhibition of family gatherings past and present, remind us of what is important: being with ones you love, being thankful for the goodness in the world, and enjoying a meal together. This is a two part exhibition, so don’t miss the second half!
emember when people thought it was the year? That 2020 was uniquely cursed, the worst year ever, that all would be resolved by January. Instead, 2021 has proved to be a fraught annum of unfinished transitions, half-kept promises, all torque and in-betweens. The world got moving again, yes, but not for very long and seldom together. From the U.S. to India, COVID-19 killed more people this year than last. Parts of the globe were held back by lack of access to a vaccine. Other parts (the richer parts) held themselves back by failing to access a shared reality.
In these award-winning photographs by Sam Ferris, intense golden sunlight bounces off the steel-and-glass urban canyon walls of Sydney’s Central Business District — illuminating passersby and setting the stage for countless fleeting encounters on the city
In these award-winning photographs by Sam Ferris, intense golden sunlight bounces off the steel-and-glass urban canyon walls of Sydney’s Central Business District — illuminating passersby and setting the stage for countless fleeting encounters on the city streets.
Ray Barbee enjoys the balancing act: as far as he is concerned, it is but a short step between the extroverted street sport scene and the observational appreciation of the photographic moment.
In February, 1981, the French artist Sophie Calle took a job as a hotel maid in Venice. In the course of three weeks, with a camera and tape recorder hidden in her mop bucket, she recorded whatever she found in the rooms that she had been charged with cleaning. She looked through wallets and transcribed unsent postcards, photographed the contents of wastebaskets and inventoried the clothes hanging in closets. Her only rule, it seems, was to leave untouched any luggage that owners had had the foresight to lock. That is, unless they also left the luggage key, which, for Calle, was as good as an invitation.
Bertien van Manen’s “Archive” offers a deep-dive into the Dutch photographer’s extraordinary career, mapping out her empathetic, vernacular approach to the documentary genre through images as well as extracts from her journal
Bertien van Manen’s “Archive” offers a deep-dive into the Dutch photographer’s extraordinary career, mapping out her empathetic, vernacular approach to the documentary genre through images as well as extracts from her journal.
A Civil Rights Journey (MACK) is a powerful and moving testament to Derby’s years in the American South. The book presents more than 110 pictures from Derby’s archive, offering a rich panorama of the key people and places behind the movement in Mississippi, but also in Georgia, South Carolina, and Louisiana, where Derby also worked. Now 82, Derby is a retired anthropology professor in Georgia.
For nearly a decade, the photographer has been chronicling the country’s historic struggles, with an intimacy that can be achieved only by getting uncomfortably close.
For nearly a decade, the photographer has been chronicling the country’s historic struggles, with an intimacy that can be achieved only by getting uncomfortably close.
With his photographic series about the ‘gnuri’, Angelo Cirrincione presents a story linked to tradition and ancient crafts that still survive to this day.
There are three reasons that John’s work sent me to thoughts of Springsteen. First, John has a unique approach to light. In fact, it is his use of darkness, the deliberate absence of light, that helps to reveal the essence of his subject matter. One might call the darkness moody. I think of it as isolating the deeper meaning of the images.
For the last two decades, American artist Gillian Laub has used the camera to investigate how society’s most complex questions are often writ large in…
For the last two decades, American artist Gillian Laub has used the camera to investigate how society’s most complex questions are often writ large in our most intimate relationships. Her focus on family, community and human rights is clear in projects such as Testimony, which explores the lives of terror survivors in the Middle East, and Southern Rites, a decade-long project about racism in the American South.
Inevitably, the spirit of Weegee haunts Jill Freedman’s photographs of New York street cops. Both worked in inky, matter-of-fact black and white. Both wanted to be at the scene of the crime while the blood was still wet. Both were unsentimental, tenacious, and tough. They didn’t look away, and they won’t let us ignore what they saw: New York at its rawest and scuzziest (the precinct walls are as ruined as tenement hallways). But Freedman, a rare woman in the field of photojournalism at the time (she died in 2019, at the age of seventy-nine), wasn’t interested in Weegee’s brand of hit-and-run tabloid photojournalism. Her pictures were made over a period of four years, from 1978 to 1981, during which she was virtually embedded with the police in two Manhattan precincts, Midtown South and the Ninth, headquartered at East Fifth Street, where the cops of “NYPD Blue” would be stationed more than a decade later. New York hit the skids financially in those years, and the city’s safety net, already badly frayed, gave out.
Photographer Chas Gerretsen spent six months chronicling one of the most harrowing and poignant war films ever made. He recounts the turmoil that took place both on and off the set.
Photographer Chas Gerretsen spent six months chronicling one of the most harrowing and poignant war films ever made. He recounts the turmoil that took place both on and off the set.
In the Magnum Square Print Sale in partnership with Aperture, Elliott Erwitt, Nan Goldin, Jamel Shabazz, and more share images that explore the edges of their photographic practice.
Being and There is a photographic travel journal featuring black and white photography by Joseph Lawton from India, China, Indonesia, Russia, France, El Salvador, Guatemala, and Mexico.
