The Tide Will Turn centers on the 100 days the esteemed photographer spent in prison for protesting Bangladesh’s religious, nationalist government, but also wisely focuses on the conditions that made his arrest inevitable.
In his portraits of Pennsylvania’s small towns and cities, Niko J. Kallianiotis provides both a detached and deeply curious view of a part of the US that is often glossed over by the popular imagination.
Through a range of visual and poetic essays, Lisa Barnard’s The Canary and The Hammer offers a heady examination of our enduring fascination with the element.
The photographs in the exhibition at the Arsenal Gallery create a sub-narrative to New York during its time of crisis, imparting an uncommon joie de vivre in a story that is commonly defined in terms of disintegration and sadness.
New Documents at the Bronx Documentary Center is not necessarily the most conceptually elaborate exhibition, or the most aesthetically alluring, but it is the one show I’ve seen this year that makes crucial sense of our contemporary compulsion to document sociopolitical upheavals and state-sponsored violence.
This past summer photographer Matt Black covered 18,000 miles of the poorest places in the United States.
In 2009, a striking collection of some 2,000 black-and-white photographs went up for auction at Sotheby’s, but unfortunately it failed to sell.
Famed for his iconic black-and-white images from war’s torn edge — humane, harrowing snapshots of the Spanish Civil War and World War II — Robert Capa also carried on an enduring exchange in color film. Beginning in earnest in 1941 and continuing until his tragic death 13 years later, Capa shot thousands of color photos.
Odds are that when you close your eyes and imagine the huddled masses at Ellis Island, or brawny men at derricks hoisting iron bars to the top of the Empire State Building, you are seeing images that Lewis Hine introduced into the popular imagination.