For three decades, the seminal photographer’s shots of an old anarcho-punk club sat gathering dust in a box. However, in the cold light of day they’ve taken on new meaning.
A shadow of hunger looms over the United States. In the pandemic economy, nearly one in eight households doesn’t have enough to eat. The lockdown, with its epic lines at food banks, has revealed what was hidden in plain sight: that the struggle to make food last long enough, and to get food that’s healthful — what experts call ‘food insecurity’ — is a persistent one for millions of Americans.
The photographer Brenda Ann Kenneally traveled across the country to highlight the prevalence of food insecurity among families. To her, the images only begin to tell the story of struggle.
This weekend, the entire issue of The New York Times Magazine is devoted to the topic of families and food insecurity, the lack of consistent access to healthy meals that affects millions in America. The issue features 18 images by the photographer Brenda Ann Kenneally, who, in the spirit of Dorothea Lange’s Dust Bowl journeys, took a 92-day trip from New York to California in a camper to document those who were struggling. The pictures are part of a collaboration between the magazine and the National desk that includes an online multimedia package.
“The Road Not Taken,” a 1916 poem by Robert Frost is not merely a call for following one’s own destiny as many would like to believe, but the knowledge that…
Arnaud Montagard, a French photographer living in Brooklyn, traversed the continent, making a series of exquisite photographs just published in the sumptuous new book The Road Not Taken (Setanta Books). Here, the search for signs of this fantastical realm continues with the fervor of a true believer, cataloguing the iconography of the self-made man whose rugged individualism built a nation from scratch.
As live sports begin to make a comeback, we want to take this opportunity to talk about representation, and to highlight some incredible women in sports photography. These women are creating stunning images and leading the way for other aspiring photographers in the field (and on the field).
Heji Shin’s striking, discomfiting work poses an important question for the contemporary age: What do we expect art to do, and does the artist have a responsibility to do it?
Heji Shin’s striking, discomfiting work poses an important question for the contemporary age: What do we expect art to do, and does the artist have a responsibility to do it?
In October of 2017, the photographer Jeff Mermelstein, who has been taking pictures of New York City street life since the early nineteen-eighties, was walking in midtown, on one of his near-daily shooting expeditions, when he encountered something he had never thought to capture before. “It was somewhere around Eighth Avenue and the mid-Forties,” Mermelstein told me from his home in Brooklyn, when I called him the other day. “I noticed that a woman was sitting there, tapping something out on her phone.” Operating on half-conscious instinct, as he often does when photographing, Mermelstein raised his own phone, went up to the woman, and took a picture, focussing not on her, as he might usually have done, but on the screen of her device. “She was doing a Google search, and it was something about wills, and a line came up about finding six thousand dollars in an attic. It was just a couple of lines there, but I suddenly felt, This could be the germ of a short story. It was a galvanizing moment.”
With the OpenWalls Arles 2020 open at Galerie Huit Arles until 05 September, British Journal of Photography delves deeper into the ‘Growth’ single image winners
With the OpenWalls Arles 2020 open at Galerie Huit Arles until 05 September, British Journal of Photography delves deeper into the ‘Growth’ single image winners
Have you heard the news? Google Images released their new licensable images features earlier today, which will help photographers looking to improve the discovery of their content and potentially earn more.
Toni Privat Agricultura. Raíces ‘El pla de grau’ text by Clara Privat “Avi”* used to go to the field every day, with his R18*, ‘The car of the year’ said the sticker on the back of the car.…
“Avi”* used to go to the field every day, with his R18*, ‘The car of the year’ said the sticker on the back of the car. Many years had passed, so many that he was now old along with the car too. Every day he got up and religiously followed his usual routine. He ate almond milk with cereal, dressed and went to the garage, where before, there had been pigs and horses, and now was his son’s field van and his R18 that he had used so much.
“FloodZone” is Miami-based Russian photographer Anastasia Samoylova’s account of life on the knife-edge of the Southern United States: in Florida, whe…
The color palette is tropical: lush greens, azure blues, pastel pinks. But the mood is pensive and melancholy. As new luxury high-rises soar, their foundations are in water. Crumbling walls carry images of tourist paradise. Manatees appear in odd places, sensitive to environmental change. Water is everywhere and water is the problem. Mixing lyric documentary, gently staged photos and epic aerial vistas, FloodZone crosses boundaries to express the deep contradictions of the place. The carefully paced sequence of photographs, arranged as interlocking chapters, make no judgment: they simply show.
According to research conducted by Artist Relief, a coalition of seven U.S. arts grantmakers, and co-presented with Americans for the Arts, 95% of artists have reported lost income during the…
According to research conducted by Artist Relief, a coalition of seven U.S. arts grantmakers, and co-presented with Americans for the Arts, 95% of artists have reported lost income during the COVID-19 pandemic, with 62% becoming unemployed because of the crisis.
