Category: Portfolios & Galleries

Across the vastness of Russia—the world’s largest country, at some 6.6 million square miles—and over the span of its long history, countless houses, factories, churches, villages, military bases, and other structures have been built and then left behind: imperial-era palaces, log cabins of pioneers in the Far East, Christian cathedrals, massive Soviet blocks of concrete, speculative-mining camps, and more. For years now, photographers have traveled across Russia finding and photographing these intriguing ghost towns, empty Soviet factories, toppling houses, and crumbling chapels.

For some Navajo, cycling offers a way to connect with their landscape and heritage.

Many thanks to our stellar juror, Shawn Bush, whose own project, Golden State, lives in the Road Trip realm. Shawn also recently took his own road trip from Rhode Island to Wyoming where he will begin teaching this fall. We had so many fantastic submissions and it was a treat to go through all your offerings.

As photographers, we are well aware that the camera lies. It is a tool of manipulation, of misrepresentation, of deceit and fiction. But the camera isn’t the only thing that lies. We tell false truths, stir up fabrications and forgeries. And that makes things interesting. The Colorado Photographic Arts Center, presents a new exhibition, Lies, featuring the work of 10 contemporary artists who explore photography’s complex relationship to the truth and the effects of misinformation on American culture. The exhibition is juried by Richard McCabe, Curator of Photography at the Ogden Museum of Southern Art in New Orleans and runs through October 6th, 2018.

Seated in her eight-room apartment, in a wealthy section of Hong Kong, Kathryn Louey stared quietly at her copy of Xyza Bacani’s first book, “We Are Like Air,” studying the words and photographs carefully. When she finished, she sought out Xyza’s mother, Georgia, who was in another room of the apartment they share, and the two hugged and cried together.

On the third day of our weeklong feature of Southbound: Photographs of and about the New South, the images are accompanied by an essay authored by Eleanor Heartney. Eleanor is a contributing Editor to Art in America and Artpress and has written extensively on contemporary art issues for such other publications as Artnews, Art and Auction, The New Art Examiner, the Washington Post and The New York Times. She received the College Art Association’s Frank Jewett Mather Award for distinction in art criticism in 1992. Her books include: Critical Condition: American Culture at the Crossroads (Cambridge University Press, 1997); Postmodernism (Cambridge University Press, 2001); Postmodern Heretics: The Catholic Imagination in Contemporary Art (Midmarch Arts Press, 2004); Defending Complexity: Art, Politics and the New World Order (Hard Press Editions, 2006) and Art and Today (Phaidon Press Inc., 2008), a survey of contemporary art of the last 25 years from Phaidon. She is a co-author of After the Revolution: Women who Transformed Contemporary Art(Prestel Publishing, 2007), which won the Susan Koppelman Award. Heartney is a past President of AICA-USA, the American section of the International Art Critics Association. In 2008 she was honored by the French government as a Chevalier dans l’Ordre des Arts et des Lettres.