The shirtless, sweating men splayed across and against car hoods and dashboards in Derby convey a sense of bonded brotherhood and physical intimacy.
via Hyperallergic: http://hyperallergic.com/672237/the-little-seen-world-of-demolition-derbies/
Ken Graves and Eva Lipman expose the surprisingly tender and at times erotically charged moments that happen before and after impact, when human and machine bodies come into close contact.
In these quietly disturbing black-and-white photographs, Tobias Kruse confronts the unsettling first decade of East Germany after the fall of the Wall, including its Nazi past and present
via LensCulture: https://www.lensculture.com/articles/tobias-kruse-deponie-landfill
In these quietly disturbing black-and-white photographs, Tobias Kruse confronts the unsettling first decade of East Germany after the fall of the Wall, including its Nazi past and present.
via Conscientious Photography Magazine: https://cphmag.com/more-on-consent/
There obviously is a topic here that extends beyond this particular case in question. Last year, I wrote an article about consent that focused on what I see as photographers’ obligations. It might be worthwhile, though, to approach the subject matter from the other side: from the vantage point of those find themselves on the other side of the camera.
Photographer and filmmaker Michael Grecco was in London recently, exhibiting at Photo London in support of his book Punk Post Punk New Wave published last | Louder Than War
via Louder Than War: https://louderthanwar.com/michael-grecco-us-punk-and-post-punk-photographer-interview/
Photographer and filmmaker Michael Grecco was in London recently, exhibiting at Photo London in support of his book Punk Post Punk New Wave published last year, which documents the music and club scene in ’70s and ’80s Boston, including previously unseen iconic photos of artists like The Clash, Adam Ant, Johnny Rotten, The Buzzcocks, Talking Heads, Human Sexual Response, Elvis Costello, Joan Jett and The Ramones.
A year ago, Spirit: Focus on Indigenous, Art, Artists and Issues, was launched featuring artists Will Wilson, Shelley Niro, Meryl McMaster, Kiliii Yuyan, Donna Garcia, Pat Kane, Jeremy Dennis, and the collaboration of Kali Spitzer and Bubzee. The objectiv
I AM INUIT is a project that seeks to connect the world with Alaskan Inuit (Inupiat, Yup’ik, Cup’ik and St. Lawrence Island Yupik) and the Arctic, through common humanity. In 2015, Brian Adams and The Inuit Circumpolar Council Alaska teamed up to visit 20 Inuit villages in Alaska resulting in the book I AM INUIT (Benteli) and an international traveling exhibition with the Anchorage Museum.
LensCulture’s editors revisit 26 of the most popular recent articles that feature black-and-white photography – portfolios, essays, interviews, exhibitions and book reviews
via LensCulture: https://www.lensculture.com/articles/jim-casper-26-black-and-white-photography-favorites-from-lensculture
LensCulture’s editors revisit 26 of the most popular recent articles that feature black-and-white photography – portfolios, essays, interviews, exhibitions and book reviews.
https://www.leica-camera.blog/2021/10/11/badlands/
Beyond the tourist trails: In his series Badlands, Tomeu Coll reveals the gloomier side of his homeland, Mallorca.
I can’t remember where I first came across the work of Epiphany Knedler, but I was so knocked out by the installation of her MFA show that it was hard to forget. She created an immersive space that forced us to reconsider the selling of the West, romantic
I can’t remember where I first came across the work of Epiphany Knedler, but I was so knocked out by the installation of her MFA show that it was hard to forget. She created an immersive space that forced us to reconsider the selling of the West, romanticized, commodified, and sanitized for happy family outings. As Smithsonian writer Stephen Aron states, “Dismantling cherished fables about the Old West and stripping the romance from the history of “Westward Ho,” newer studies have exhumed the human casualties and environmental costs of American expansion. Offering little glory, these interpretations of how the West was lost have accented the savagery of American civilization.” With all American history, it’s critical to acknowledge the truth.
The Times photographer Tyler Hicks, who chronicled the 20-year war, captured American troops in battle, the deaths of civilians, schoolgirls in class and the struggles of ordinary Afghans to survive.
Link: https://www.nytimes.com/2021/10/07/world/asia/afghanistan-war-photos.html
One of the first things the New York Times photographer Tyler Hicks witnessed after arriving in Afghanistan in late 2001, soon after U.S. airstrikes on Oct. 7 opened the invasion, was the execution of a wounded Taliban fighter. The scene shocked him, upending everything he thought he knew about war and about the Afghan Northern Alliance — the U.S.-aligned fighters who had been his guides and protectors, and the Talib’s killers.
Feng Li’s latest work delivers a surreal world, where joy and grief, cruelty and fragility are distributed among kindred spirits.
via Aperture: https://aperture.org/editorial/feng-li-absurdist-dramas-on-the-streets-of-chinese-cities/
The photographer’s latest work delivers a surreal world, where joy and grief, cruelty and fragility are distributed among kindred spirits.
Out on her partner’s ranch in remote Montana, Lauren Grabelle documents her surroundings with a bite, picturing life as it is lived in wilderness, bordered by mountains and shared with a variety of beasts
via LensCulture: https://www.lensculture.com/articles/lauren-grabelle-the-last-man-2
Out on her partner’s ranch in remote Montana, Lauren Grabelle documents her surroundings with a bite, picturing life as it is lived in wilderness, bordered by mountains and shared with a variety of beasts.
Reimagining portraiture as a playful practice of deconstruction, Karen Navarro’s visual puzzles remind us that identity is a fluid and multifaceted process
via LensCulture: https://www.lensculture.com/solo-exhibition/karen-navarro-the-constructed-self-2
Reimagining portraiture as a playful practice of deconstruction, Karen Navarro’s visual puzzles remind us that identity is a fluid and multifaceted process.
https://www.leica-camera.blog/2021/10/04/in-visible-light/
The Q2 has been Sam Ferris’s faithful companion for the past two years, while he explores the streets of Sydney. He spoke to us about what drives him.
via Magnum Photos: https://www.magnumphotos.com/newsroom/2021-magnum-photos-annual-general-meeting-new-nominees/
“It feels amazing, humbling, exciting and huge to think that I have been nominated by Magnum photographers, who have been among my favorite photographers since I started taking pictures. It also feels right to contribute with my point of view, as a documentarist and as an Arab woman,” says Boulos of her nomination. “I hope that the future holds, for me, many encounters, collaborations and new ways of documenting, questioning and resisting the world we live in.”
Photographer Cornell Watson’s recent vacation with his family to Martha’s Vineyard showed him what seemed like a fantasy: Black people living life seemingly free of the anxieties and stresses that life normally holds.
via Washington Post: https://www.washingtonpost.com/photography/2021/10/04/happy-see-you-here-peace-joy-blackness-marthas-vineyard/
Photographer Cornell Watson is sharply aware of these inequalities. He’s seen it his whole life. And a recent vacation he took to Martha’s Vineyard made him reflect on that. While there, he was able to put aside some of the anxieties thrust upon Black people to the side for just awhile.
A 25-year-old Romanian photographer appropriates the same tools of the former Securitate secret police to try to come to grips with her parent’s and their generation’s apparent inability to embrace 21st century freedom
via LensCulture: https://www.lensculture.com/articles/kincso-bede-in-need-of-new-ceremonies
A 25-year-old Romanian photographer appropriates the same tools of the former Securitate secret police to try to come to grips with her parent’s and their generation’s apparent inability to embrace 21st century freedom.
A Hundred Stories | By Michelle Ma Qinglian, who worked as a chemistry professor in southern regions of China, suffered under cancer caused by radiation. She passed away when my father was 18 years…
via burn magazine: https://www.burnmagazine.org/essays/2021/10/a-hundred-stories-by-michelle-ma/
In my project, A Hundred Stories, I photographed dwellers, strangers, and family relatives living in Southern China to regions of north bordering Russia. I also intertwined modified images with family archives. Taking photographs of my hometown has given me a chance to reflect on people whom I have not valued. I found that these people, who lives in a different time from the real world, and those who live in a fast-developing city, share the same mind-set. The silent wind of time has continued to blow. The process brought me a strange feeling of satisfaction, which only a hundred stories can reveal.
A new exhibition and book celebrate the extraordinary legacy of American photographer Ruth Orkin, one of the most influential women photographers of the twentieth century.
Link: https://www.blind-magazine.com/en/news/3785-ruth-orkin-stolen-moments-en
A new exhibition and book celebrate the extraordinary legacy of American photographer Ruth Orkin, one of the most influential women photographers of the twentieth century.
Meet the twenty winning artists recognized by Aperture and Google’s Creator Labs for their exceptional photographic visions.
via Aperture: https://aperture.org/editorial/announcing-creator-labs-photo-fund-winners-2021/
This summer, Aperture and Google’s Creator Labs teamed up to launch a new initiative, the Creator Labs Photo Fund, aimed at providing financial support to photographers in the wake of COVID-19. Selected by Aperture’s editors, the twenty winning artists are recognized for their exceptional vision as well as the strength and originality of their portfolios, and will be awarded a prize of $5,000 each to sustain their work and practice.
With his hand-rolled cigarettes, typical stubble and a Leica slung around his neck, Mr. Keating could give off a roguish air. Some colleagues considered him “a talented if mercurial lensman who sometimes behaved like a hotdogger,” the journalist Lloyd Grove wrote in The Washington Post in 2003. Mr. Keating acknowledged to The Post that he had twice been suspended by The Times for infractions unrelated to his work. His photography led to a final dust-up with the paper.