photography

Post image for Photographs from Life in the Tombs of Cairo’s City of the Dead

For decades, an affordable housing shortage in Cairo, one of the largest cities in the world, has resulted in hundreds of families moving into the cemeteries. Photojournalist Tamara Abdul Hadi went into one such community to document what life is like among the dead.

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Robert Heinecken,

The first work one encounters in Robert Heinecken: Object Matter, the Museum of Modern Art’s (MoMA) retrospective of the renowned “para-photographer,” is a 1965 piece entitled “Visual Poem/About the Sexual Education of a Young Girl.”

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Photograph by Horace Poolaw at the Smithsonian's National Museum of the American Indian in New York

For five decades at the beginning of the 20th century, Horace Poolaw photographed a Kiowa community in flux.

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Post image for A Chaotic Compendium of the World’s Depravity

No matter where French photographer Antoine d’Agata travels, he finds the same festering vein of marginalized depravity.

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Post image for Walking the Mysterious and Monumental Nazca Lines

Sandstorms shifting the terrain of southwest Peru recently revealed new Nazca Lines.

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Post image for Unearthed Photographs from National Geographic’s Archive

The arresting images that have thrived on the pages of National Geographic since 1888 are just a fraction of the photographs taken for the magazine.

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Marcus DeSieno's Parasites series

Tapeworms, leeches, lice, bedbugs, fleas, and ticks — the litany of Marcus DeSieno’s photographic subjects is enough to cause a few paranoid itches

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Post image for Dispatches from the Gateways to Death Valley

Two rural communities have ominously declared themselves the “Gateway to Death Valley” — Baker, California and Beatty, Nevada — each isolated as the last stop before miles of harsh landscape.

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Adrain Chesser,

There is a loose tribe living at nature’s margins in the United States, slaughtering goats raised by hand at Idaho’s Lost River and picking cherries growing wild in California’s Marble Mountain Wilderness.

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Ellen Brooks, “Untitled (Lawn Couple)” at Hauser & Wirth

Photography’s initial accomplishment was to allow for the instantaneous transformation of a four-dimensional object or event into a static, two-dimensional representation. However, in the catalogue for the 1970 exhibition Photography into Sculpture at the Museum of Modern Art, Peter C. Burnell insisted that the medium could be pushed to even greater creative possibilities.

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