Imagining the photographic print as a singular art object.
The much-anticipated second edition of Lee Friedlander’s The American Monument coincides with the opening skirmishes of an extended battle over the control of history.
Walking through In the Studio: Photographs, a three-part show organized by Peter Galassi, former Chief Curator of Photography at New York’s Museum of Modern Art, and spread over several floors of the Gagosian empire on Madison Avenue, the underlying themes of accumulation, storage, labeling, and just plain looking remind us how artists often surround themselves with visual repertories.
The photographer Patrick Gookin recently explored the psychological ramifications of car culture in a series called LA by Car.
October 12, observed yesterday as a holiday, is most commonly known as Columbus Day in the United States, but is also recognized as Dia de la Raza throughout Latin America, as well as Indigenous People’s Day. Fraught with controversy, the various iterations of this holiday reflect the range of perspectives on Christopher Columbus and his legacies. The Columbus Day of my youth celebrates the heroic “discoverer” of the Americas, playing up mythical stories of his genius on insisting the world was round, and often neglecting the icky bits about the ensuing genocide of the indigenous peoples of the Americas.
Writing for the Guardian, Sean O’Hagan is wondering how our recent laws governing privacy and surveillance are impacting the art form we’ve come to know as Street Photography.