Sabine Russ maps Wolfgang Staehle’s 2001 onto 2011, tracing the painful and cathartic implications of its memory.
This First Proof contains three photographs by Jane Hammonds.
Mickalene Thomas on the influence of Romare Bearden, David Hockney, Matisse, and Carrie Mae Weem’s “Mirror, Mirror on the Wall . . . .” Her show Origins of the Universe is on view now at the Brooklyn Museum.
Michael Schmelling made a book called Atlanta, a photo book about the Atlanta hip-hop scene. Then Richard Maxwell wrote a review of it.
An exhibition of photographs from three series, exploring absence, decomposition and dislocation. Shot in Cape Town and New Orleans, subjects vary from migrants in their intimate spaces, empty beds, and ruined houses.
Bremer’s information-packed networks drawn over documentary photographs are like snapshots of his mind. Taken from multiple angles, they imply brainstorming, reminiscing, hallucinating, musing, brooding, dreaming, reflecting, and automatic doodling.
This First Proof contains a portfolio of four photographs by Allen Frame. For copyright reasons, this content is available in print only.
Author Minna Proctor contemplates the universe of Sharon Harper’s long-exposure photographs of the starry night sky.
This First Proof contains a portfolio of four works by Valérie Belin. For copyright reasons this content is only available in print.
This First Proof contains four images by Lou Reed. For copyright reasons, this content is available in print only.
Simmons’ show Wilderness is up at Nicole Klagsbrun through May 28th. Fellow artist Adam Pendleton discusses her composed and staged, yet disquieting, images.
Dan Wolgers is in his third decade of delivering snapshots of the improbable.
Carrie Mae Weems has a muse, an avatar, an alter-ego. Photographer Dawoud Bey and Weems discuss how her guide—this stand-in for history—bears witness to race, class, and migration.
This First Proof contains a portfolio of photographs from the series A Series of Human Decisions by Bill Jacobson with writing on the work by Ian Berry. For copyright reasons this content is available in print only.
Bartos’s photography reveals something the writer Homes calls, “history passing, when culture is fading, when time has stopped.” His new work is on view now at Gitterman Gallery in New York City.
Pare’s symphonic photographs (on view at MoMA through October in The Lost Vanguard) celebrate the short-lived Russian experiment in modernist architecture and its utopian dream.
An artists on artists text on American Photographer Jessica Craig-Martin by Poet Bob Holman, accompanied by photographs by Jessica Craig-Martin.
Mnemonics are the underlying force in Robert Polidori’s sumptuous photographs. With writer Michèle Gerber Klein, on Versailles, abandoned farms in North Dakota, and more.
For the 2007 Americas issue, Roberto Juarez underscores the distinctly Hispanic elements of the quirky kinky graphic art of Paul Henry Ramirez.
An artists on artists text on Photographer Mark Klett by Darius Himes, accompanied by several photographs by Mark Klett, the first titled Three Views of the Site of Comstock Mines.
Tod Papageorge’s photographs of Central Park in the ‘70s reclaimed street photography as an art form. His friendship with fellow photographer Garry Winogrand sealed the endeavor. Papageorge is back with a book, Passing Through Eden.
John Miller on how Nicolás Guagnini’s photography explores the repression and monotony implicit in everyday life.
A series of photographs taken by Aric Mayer chronicling the aftermath of Hurricane Katrina’s destruction in New Orleans’s hardest-hit neighborhoods.
These photographs were taken by Ned Sublette over a period from late 2004 to early 2005.
Louise Lawler’s Glass Cage, two black and white photographs with text on mat, appeared on the cover of First Proof.
James Welling on the photographs of Louise Lawler and how photography is “a medium without grammar.”
This First Proof contains photographs by Inge Morath and a poem by Honor Moore on the photographer. For copyright reasons this content is available in print only.