The influential collective created a rigorous yet non-hierarchical sphere of influence, which challenges the very tidiness of retrospectives like Working Together.
In 1973, a small band of black artists published the Black Photographers Annual, Volume I, a book that changed the history of photography in America.
A look back at a critic’s reviews, views, and articles.
Louis Draper resisted labels. He knew that they could confine, like boxes, but much worse, they might be like prison cells: impossible to escape.
Very soon after my review of Louis Draper was published in Hyperallergic Weekend (February 7, 2016), I got an email from the Virginia Museum of Fine Arts and from the Museum of Modern Art.
In November 1955, four days after Robert Frank was arrested, questioned, and released in Arkansas under the suspicion of being a Communist spy, he took a photograph, ‘‘Trolley — New Orleans’’ (1955), that was included with eighty-two others in his justly famous book, The Americans, which – we should remember — was first published in France in 1958.
“And who else is there?” A staff member at a well-known photo festival and I were nearing the end of an awkward conversation.