Art
Signs and Wonders: The Photographs of John Beasley Greene features photographs that focus on ancient monuments and landscapes in Egypt and Algeria from the 1850s, rather than people.
Art
In Iñaki Bonillas’ work, on view in his first solo show in New York, the margins of photographs shift from negative to positive space, becoming new images in their own right.
Interview
Devyn Galindo and Hope Steinman-Iacullo charted a three-month journey from Los Angeles to the Florida Keys, stopping along the way to photograph and interview queer people across the country.
Film
The 2005 documentary William Eggleston in the Real World has been restored and re-released on home media. Far from a normal biography, it often plays like a homage to the photographer's work.
Art
Motohide Takami's images locate the exact distance at which you can contemplate tragedy yet remain untouched by its damage.
Art
Frustrated by how Morocco was merely treated as a backdrop at shoots, Hajjaj eclipsed limiting stereotypes with expansive, complex personalities.
Art
The Josef and Anni Albers Foundation and Le Korsa helped restore the extensive archive of Roger DaSilva, whose black-and-white images joyfully document Senegal's nightclubs, upscale weddings, and cultural events.
Art
The free-to-attend Black Portraiture[s] conference will focus on the creation of visual archives in the context of landmark moments in Black history.
Art
In a sprawling new photography exhibition at the Ryerson Image Center, the joy of self-definition offers its own form of resistance.
Art
Photographer Tommy Kha's Return to Sender exhibition at LMAK Gallery frames him as his own subject — a listless participant in a series of intimate encounters.
Books
Dennis Stock’s California is that of an outsider, shooting the most obvious aspects of West Coast life against the diverse, strange, and fascinating backdrop of the late 1960s.
Art
The results are arresting, as the writers, who are also men in prison, make anonymous images their own, speaking out of their own experiences, bringing insights and empathy that no outside critic or art historian could.