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.
David Lang on Memory Index, a massive photographic installation by Bill Albertini.
Tom Healy on the influences of science, nature, and the sun that define the photography of identical twins Doug & Mike Starn.
Ellen Phelan’s art evokes the experience of her singular vision: a remembrance of things past so firmly rooted in collective longing that no matter the medium she chooses, this longing becomes tangible and observable.
George Negroponte on the well-practiced hand behind Michelle Charles domestic renderings.
Photographer Welling, whose new show opens Sept. 7 at David Zwirner Gallery, is known for his frequent about-faces in format, subject, process and style.
Lucy Raven on the remarkable self-containment and the discontented political metaphors found in the films and photographs of Juan Carlos Alom.
George Mead Moore on Jan Hendrix’s roots in Oaxaca, Mexico and the process behind his giant scans of the leaves he collects.
Photographer Clifford Ross writes about his Wave Music project—the methods and equipment he uses as well as the philosophical underpinnings driving his work.
Vera Lutter’s camera obscura photographs trace a history of light and architecture in urban, industrial and transportation hubs. Traces of people, planes, blimps and clouds exist like ghosts in these panels of space and time.
Mungo Thomson on the search for the transcendent in Corey McCorkle’s om infused photographs.
Magaly Espinosa on the installations and photographs of Glenda León and the artist’s fascination with seemingly unimportant objects.
Story of a haunted, wounded lover by Jonathan Ames with photographic work by Lenore Malen. This article is only available in print.
Walter Hopps on the provocative, often rock ’n‘ roll inspired works of mischief-minded filmmaker, photographer and artist Bruce Conner.
Larry Sultan on Bill Owens’s photographs of suburban life in the 1970s and ’80s in all their beauty and banality.
Casebere’s work is part of the pictures generation show now on view at the Metropolitan Museum of Art.
William Eggleston reveals the beauty in the mundane through his new body of photographs, which capture everyday scenes of Arizona and Los Angeles.
José Antonio Rodríguez Ramírez examines the work of Pia Elizondo as one of the leading examples of the shift in ’90s Mexican photography. Her shadowy images opened the door to personal, rather than Nationalistic, narrative.
Carolina Ponce de León reflects on María Teresa Hinacapié’s spiritual and political performance art accompanied by five photographs of some of the artist’s performances.
Sergio Vega’s alter ego, his parrot/Dante of the New World, takes us on a metaphysical tour of paradise. Fellow artist and Argentinean Nicolás Guagnini covers a pastiche of issues, from crocodiles and utopia to notions of a postcolonial Garden of Eden.
Pedro Meyer’s photographs of his family, friends, and cultural icons reveal the inner lives of their subjects. His use of new technologies makes these private worlds available to a worldwide audience. Artist George Mead Moore speaks with the photographer.
Vik Muniz practices the alchemy of transforming sugar, chocolate syrup, and any number of commonplace materials into art. He’s also featured in the award-winning documentary Waste Land, out now.
Amanda Means on the subversive technique and resultant bleak, isolated photographs of Oliver Boberg.
Hank Hine on black and white photographs celebrating native plants in Oaxca, Mexico by Graciela Iturbide.
Juan Manuel Echaverría’s art spawned from his love of metaphor and literature. He studied the journals of the New World’s conquistadors and priests. Artist Calvin Reid discusses Colombia’s second apocalypse with the artist.
Architect and writer Carlos Brillembourg visits Brasilia to meditate on the cities spontaneous history and its place in the pantheon of contemporary urban planning.
On the crest of the new British invasion, Sam Taylor-Wood’s surprising photographs and films catch their subjects in isolated moments, dramas, arguments. Her work is reminiscent of early Warhol, with an operatic style all her own.
Betsy Sussler reflects on four of Clifford Ross’s Wave paintographs which portray luminous seascapes while experimenting with the power of chemistry and light.
Critics were spinning their wheels about Australian photographer Tracey Moffatt’s work because she hadn’t been talking. Coco Fusco leads Moffatt through a discussion of the madness in the method.