Beneath our sheath of skin is an internal world both vast and complex. While most of us rarely get to see it, these workings of our systems and organs are the daily viewing of pathologists, particularly when it comes to disease. A new book of photography takes us into our own interiors, and shows that even with their horrid ravaging of our bodies, there is some beauty in these afflictions.
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The United States Postal Service was just expanding into widespread delivery to the remote corners of the country when panoramic postcards appeared to advertise in wide frame the beauty of these far-flung locales. Usually folding for more compact delivery, these broad little views offered expansive looks at landscapes, and also accommodated the rapidly growing modern marvels of the world, like towering skyscrapers or massive sea vessels. The Library of Congress recently added over 400 of these postcards to its online Prints & Photographs Catalog.
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Some people manage to live many lives in their one existence, and Lee Miller with her journey from Poughkeepsie to the Surrealist scene of Paris to the front lines of World War II was definitely a woman whose life could not be singularly defined.
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The military history of Finland during World War II remains overlooked in those brutal years of battles, as the Nordic country was actually fighting three wars between 1939 and 1945, all aimed at guarding their independence. Now a massive photo archive of around 160,000 images has been made available online, giving an incredible look into those dynamic years of the country’s history.
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Pursuing a master’s degree requires the right school with the best program at the appropriate time in your life. The SVA Master of Professional Studies (MPS) in Digital Photography is an intensive one-year master’s degree program that is offered as an on-campus/summer residency or an online/summer residency that seamlessly blends the most current technical and aesthetic aspects of contemporary photographic image making.
In a video released this week by NASA, you can stare at the sun for the equivalent of three years in just three minutes, making it the most efficient and safe way to look at the solar cycles yet — as well as a really cool example of how photography can show us that which is not visible to our delicate eyes.
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By now, we’re used to museums partnering with the Google Art Project and sharing selections of their popular or less known collections online. However, this month a photography museum finally got into the mix, with the George Eastman House, the oldest photography museum in the world, offering an initial 50 images from its extensive collections online.
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A lot of 179 of these tintype photographs dating from the 1860s to 1890s is part of the upcoming Fine Photographs & Photobooks sale at Swann Auction Galleries, and are something of a core sample of the shifting social changes in the country, and how those 19th century people were choosing to remember themselves and portray others in the post-Civil War era.
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Distilling violence into art is a tricky alchemy. Even when done carefully, it can result in a strange brew, leaving some intoxicated and moved by its heady ascetics, others feeling sick and hung-up on its inherent horror, sadness, and trauma. In On Photography, Susan Sontag famously enunciated that photography depicting violence and suffering can “corrupt” the viewer, discouraging their engagement and activism. The more images of this type that are disseminated and seen, the further this corruption unfolds and pervades the apprehension of photographs of suffering. “Images transfix. Images anesthetize,” she wrote.
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Like so many people who come to New York, part of what attracted me was the spectacle of the city itself. I wanted to wander streets thick with history and creative currents, to watch and become part of the human drama just outside my door. That also describes my experience of Susan Wides’s stunning new project All the Worlds, a series of nine sensuous, panoramic photographs that capture the fluid beauty of New York City’s theatrum mundi. It is on these stages that Wides sees our very human need to align with the poetry of our collective spirits and to reclaim our humanity in the face of co-opting consumerist and political forces.
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Don't You Understand, I'm an Artist!
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The Whitney Museum's New Logo Goes Nowhere
Watch Out, Art World: Amazon Is About to Start Selling Art
Can Rectal Realism (and Other 1970s Art) Inspire?
The Bermuda Triangle of Art
Creative Success vs. Personal Relationships — Who Wins?
Overheard in the Art World
Skewering the Egos of Male Artists at Dia:Beacon
Beer with a Painter: John Walker
The Nazi Ties of Joseph Beuys
The Hidden Beauty of Disease Under Our Skin
