News from the World of Photography: February 2018


The Woman Who Was Robert Capa


The year is 1936. On the outskirts of Barcelona, a small plane crash-lands. Miraculously, everyone on board survives, including two photographers, Robert Capa and Gerda Taro. They were risking their lives to cover the Spanish Civil War that had broken out months prior. Capa would take one of the most famous war photos in history. Taro would become the first female photographer to die in conflict — and be largely forgotten.

But it’s really a story about two identities so intertwined that it’s hard to keep them apart; difficult to know who’s who, who did what, and what it means to be a photographer...


Then They Came for Me: Incarceration of Japanese Americans during World War II 

International Center of Photography (ICP)
New York, NY
26 January - 6 May 2018 

Then They Came for Me: Incarceration of Japanese Americans during World War II examines a dark episode in US history when, in the name of national security, the government incarcerated 120,000 citizens and legal residents during World War II without due process or other constitutional protections to which they were entitled. Executive Order 9066, signed by President Franklin D. Roosevelt on February 19, 1942, set in motion the forced removal and imprisonment of all people of Japanese ancestry (citizens and non-citizens alike) living on or near the West Coast. This exhibition features works by renowned photographers Dorothea Lange, Ansel Adams, and others documenting the eviction of Japanese Americans and permanent Japanese residents from their homes as well as their subsequent lives in incarceration camps. Also included are photographs by incarcerated photographer Toyo Miyatake. This timely exhibition reexamines this history and presents new research telling the stories of the individuals whose lives were upended due to racial bigotry.

Peter Hujar: Speed of Life

The Morgan Library and Museum
New York, NY
26 January - 20 May 2018


The life and art of Peter Hujar (1934–1987) were rooted in downtown New York. Private by nature, combative in manner, well-read, and widely connected, Hujar inhabited a world of avant-garde dance, music, art, and drag performance. His mature career paralleled the public unfolding of gay life between the Stonewall uprising in 1969 and the AIDS crisis of the 1980s.

In his loft studio in the East Village, Hujar focused on those who followed their creative instincts and shunned mainstream success. He made, in his words, “uncomplicated, direct photographs of complicated and difficult subjects,” immortalizing moments, individuals, and subcultures passing at the speed of life.

Peter Hujar: Speed of Life—on view at the Morgan from January 26 through May 20—presents one hundred and forty photographs by this enormously important and influential artist. Drawn from the extensive holdings of his work at the Morgan and from nine other collections, the show and its catalog follow Hujar from his beginnings in the mid-1950s to his central role in the East Village art scene three decades later.

The Age of Gold and Daguerreotypes

The New York Times LENS Blog

The photographic process may depend on silver, but a new exhibit shows how gold — specifically, its discovery in California 170 years ago this week — was just as important as a subject for daguerreotypes. During the later half of the 19th century, gold fever was as intense — and short lived — as the nascent photographic process.

Gold and Silver: Images and Illusions of the Gold Rush, on view through April 2 at the National Gallery of Canada in Ottawa, with a book co-published by the Canadian Photography Institute and RVB Books, explores the symbolism and materiality of precious metals: as a stabilizing element within the history of photography, and holding the promise of prosperity that shaped America...

Catherine Edelman Talks New Media

The Photography Show presented by AIPAD

"Some of the best work in the history of art comes out of anger and artists reacting to what’s happening. And that gives me hope."...

The Photography Show, held April 5-8 at Pier 94 in New York City, will feature more than 100 galleries from around the world. Two newly released videos show how the event brings together a community that fosters exceptional artists, nurtures the field of photography, and showcases the finest photography in the market. 

Roger Fenton: the First Great War Photographer

The New York Times LENS Blog

Robert Capa, the archetypical modern war photographer, once famously declared, “If your photographs aren’t good enough, you’re not close enough.” Good advice, though it didn’t apply to Roger Fenton, the godfather of the genre, who documented the Crimean War in 1855. That’s not just because he had to haul large cameras and unwieldy glass plate negatives (since fast Leica rangefinders had yet to be invented), but also because he shied away from photographing subjects that are now common: As a proper English gentleman, he wouldn’t photograph the corpses of soldiers, because doing so was unseemly.

Relying on long exposures made it impossible for Mr. Fenton to stop action and capture actual battles. But he did give the British public a view of the war by portraying the lives of British enlisted men and officers, as well as showing the armaments, supply routes and the many, many horses that were the critical military transportation technology of the day. He lived among the troops and traveled in a photo truck that doubled as his darkroom while photographing Russia’s defeat by an alliance that included Britain, France and the Ottoman Empire...

British Journal of Photography

Vanessa Winship’s biggest UK show to date, the first UK retrospective of Dorothea Lange, and a huge group exhibition including work by photographers such as Mary Ellen Mark, Dayanita Singh, Alec Soth, Chris Steele-Perkins, Daido Moriyama, Diane Arbus, Pieter Hugo, Bruce Davidson, and Boris Mikhailov – they’re all coming up this year at London’s Barbican Centre, in a season titled The Art of Change.

Running throughout the whole of 2018, The Art of Change season will explore “how artists respond to, reflect and potentially effect change in the social and political landscape”. The photography group show, Another Kind of Life: Photography at the Margins, opens from 28 February – 27 May, and includes 20 photographers selected by Barbican curator Alona Pardo. Bringing together over 300 works from the 1950s to now, including specialist magazines and photobooks as well as prints, the show considers photographers’ ongoing fascination with those on the margins of society and how they have engaged with these groups, and touches on themes such as gender, caste, gang culture, and street life.

Auction Results: Icons and Images: Photographs and Photobooks

Swann Galleries
15 February 2018


Joel Meyerowitz’s Career Is a Minihistory of Photography

The New York Times Magazine

1. Now wait a second, is this magic? Or has it all been carefully arranged with actors, lighting and special effects? The truth is more surprising: It’s neither. It’s simply a picture snapped by Joel Meyerowitz on a New York City street one day in 1975. No faces are immediately evident, just figures in camel-colored coats turned away from us, a puff of smoke with two people suspended in it. No, four people, if you count those shadows, six if you count the backs on which the shadows fall. In fact there are seven people, if we count the additional shadow in the foreground, the photographer’s — and further figures emerge as the eye adjusts to the deep background. It is a picture that just won’t sit still...

Multiple Medium: Photographs from the Collection

Cincinnati Art Museum
Cincinnati, OH
23 January - 25 March 2018

Photography is very good at making multiples. The capacity to produce many images and many copies of a given picture has raised doubts about photography’s status as a fine art medium throughout its history. Yet photographers of all kinds use series, sequence, combination, repetition and reproduction as potent artistic tools.

Drawn from the Museum’s rich photography collection, Multiple Medium presents rarely-seen treasures and recent acquisitions that illustrate and raise questions about the medium’s relationship with numerousness.

Ahmed Mater: Mecca Journeys

Brooklyn Museum
Brooklyn, NY
1 December 2017 - 8 April 2018

Ahmed Mater: Mecca Journeys takes visitors through the holiest city in the Islamic world. It presents a compelling portrait of the massive urban redevelopment now under way and its effects on residents and the millions of hajj pilgrims who travel there every year. Saudi artist Ahmed Mater has documented this unprecedented expansion for nearly a decade.

The exhibition is anchored by monumental photographs from his project Desert of Pharan: Unofficial Histories Behind the Mass Expansion of Mecca, alongside large-scale videos and installations. In addition to showing the influx of wealth, photographs detail the lives of workers on construction sites and of migrant groups.

"I need to be here, in the city of Mecca, now, experiencing, absorbing, and recording my place in this moment of transformation, after which things may never be the same again," states Mater. "It has become important for me to identify with this place and to understand how this constellation of change, as well as the forces that are shaping it, will affect the community of which I am a part."

Focusing on Mecca as both a symbolic site of worship and a contemporary urban center grappling with the consequences of unremitting growth, Mecca Journeys presents a portrait of the complex cultural dynamics at work in the city today.

Ellen Carey: Dings, Pulls, and Shadows

Amon Carter Museum of American Art
Fort Worth, TX
17 January - 22 July 2018

Since the 1990s, experimental photographer Ellen Carey has been making photographs that defy photographic conventions of depicting identifiable subjects. Instead, her works depict vibrant fields of color that are meditations on the very nature of photography as an image created by the action of light on a light-sensitive surface. The exhibition Ellen Carey: Dings, Pulls, and Shadows features seven key works that explore the artist’s interest in color, light, and the photographic process as the subject of her practice.

Frida Kahlo: Her Photos

Calgary, Canada
3 February - 21 May 2018

Glenbow is pleased to present the first Canadian showing of Frida Kahlo: Her Photos, an exhibition that has traveled to 12 cities in 7 countries, and has received more than half a million visitors.

For the first time in this country, visitors will be able to see a treasure trove of images previously locked away in the Kahlo estate archives for more than 50 years.

Frida Kahlo’s distinctive, colourful self-portraits and extraordinary life have made her one of the most recognized artists of the twentieth century. Less well known is her special relationship with photography. Throughout her life, Kahlo meticulously collected photographs of herself and her loved ones as well as scenes of Mexican culture, politics, art, history and nature. The exhibition Frida Kahlo: Her Photos gives us the opportunity to better understand the woman behind the artist: her origins, her roots, her friendships and romantic relationships, her constant fight with her fragile health, her political tendencies, and the strong role that photography played in her life and work.

International Center of Photography (ICP)
Caixa Forum Seville

Seville, Spain
7 February - 13 May 2018

This exhibition presents Robert Capa’'s color work for the first time. Capa regularly used color film from the 1940s until his death in 1954. Some of these photographs were published in magazines of the day, but the majority have never been printed, seen, or even studied. Over the years, this aspect of Capa’s career has virtually been forgotten. With over 100 contemporary color prints by the famous photojournalist, Capa in Color presents this work an integral part of his post-war career and fundamental in remaining relevant to magazines...

Capa in Color will explore how he started to see anew with color film and how his work adapted to a new postwar sensibility. The new medium required him to readjust to color compositions, but also to a postwar audience, interested in being entertained and transported to new places.

Capa in Color is drawn entirely from the Robert Capa Archive in ICP’s permanent collection. The Archive contains roughly 4,200 color transparencies - 35mm Kodachrome, 21⁄4 Ektachrome, and some larger Kodachrome sheet film. It also includes thousands of vintage black-and-white prints, negatives, tearsheets, and papers.

World Press Photo 2018 Photo Contest

World Press Photo

View the entire collection of images nominated for the 2018 World Press Photo Contest. The winners of the 61st World Press Photo of the Year and first, second and third prizes will be announced on the evening of Thursday 12 April at the World Press Photo Awards Show in Amsterdam.

The Guardian

The Representation of the People Act 1918 added 8.5 million women – those over 30 who owned property or were graduates voting in a university constituency – to the electoral roll. It extended the parliamentary vote to some women and paved the way for universal suffrage 10 years later. It also gave the vote to 5.6 million more men after their voting age was lowered to 21 and the property qualification abolished. The general election in December 1918 consulted an electorate three times the size of the one before it...

Photography: The First 150 Years

Dominic Winter Auctioneers
Gloucestershire, UK
9 March 2018


The Lesser-Known Photos of Gordon Parks, from Fashion to Artists’ Portraits


A perplexed giraffe peers from behind a woman bundled in a purple printed headscarf. She’s holding an umbrella, whose pattern of brown shapes framed by yellow borders mimics that of the animal. Photographer Gordon Parks captured the giraffe mid side-eyed glance, as if it’s thinking, “who is this woman and why is she stealing my look?” In a nearby image, a woman wearing a tiered wedding cake of a red ball gown, her diamond barrette like frosting, nestles into her date. They’re standing in the middle of busy Park Avenue, but they might as well be the only two people in the world...


feature shoot

The Print Swap, a worldwide initiative by Feature Shoot, is heading to the Month of Photography Los Angeles (MOPLA) this April in an exhibition curated by Paul Kopeikin, the director of the internationally renowned Kopeikin Gallery. All images included in The Print Swap are printed and mailed at random to participating photographers around the world, and thirty standout photographs from the last few months are part of this exhibition. Selected artists hail from points around the map, with exhibiting photographers based in the United States, Canada, Mexico, the UK, Germany, Norway, Ireland, Switzerland, and Malaysia.

A dreamlike thread runs through Kopeikin’s selections, from Cameron Karsten’s upside-down Puget Sound and Ellen Jantzen’s digitally altered New Mexico to the snow-covered street scenes of Stephen Chong and Navid Baraty, Merethe Wessel-Berg, and Garrod Kirkwood. Reflections of various sorts appear in work by Tori Gagne, Brindha Anantharaman, Andy Grant, Asher Carey, Cristian Ordonez, and Molly McDonough Mahler. Don Hudson takes us back in time with his 1974 photograph from Ann Arbor, Michigan. Wherever they roam, these 29 photographers bring with them a magical sense of the surreal.

The definitive Brassaï show, curated by ex-MoMA star Peter Galassi

The British Journal of Photography

It would be an understatement to say that the legacy of Gyula Halász – better known by his pseudonym, Brassaï – has been the object of extensive research and countless curatorial  projects. Yet the Fundación Mapfre, the private institution that has shown the highest devotion to photography in Spain, has entrusted Peter Galassi, the former chief curator of photography at Museum of Modern Art, to conduct what will probably be the definitive exhibition about the Hungarian-French photographer at its Barcelona gallery, the Garriga i Nogués exhibition hall (19 February to 13 May).

The exhibition could be considered to be Galassi’s biggest curatorial endeavour so far since he retired from MoMA, and the catalogue, published by Fundación Mapfre, can attest to the pertinence of this major survey of Brassaï, even after previous approaches carried out by John Szarkowski, Agnès de Gouvion-Saint-Cyr, Peter Pollack, Sylvie Aubenas, Quentin Bajac, Manuel Borja- Villel, Alain Sayag and Catherine Troiano, to name but a few...


Auction Result: MOMA: Bill Brandt

Online Auction

16 - 24 January 2018

‘MoMA: Bill Brandt’ is part of the next installment of online-only auctions of photographs from The Museum of Modern Art, New York, being sold to benefit the acquisition fund for the Museum’s Department of Photography. This auction brings together images by influential British photographer Bill Brandt (1904–1983) that span both his important reportages as well as his bold explorations of the female nude. Most of the prints in this grouping were made on the occasion of the landmark exhibition Bill Brandt presented by the Museum in 1969, signaling the first major exhibition in the United States dedicated to the artist’s work. This auction contains 43 photographs ranging from $2,000 to $10,000. 

PHOTOCULTURE: Interview with Ken Gonzales-Day

PHOTOCULTURE: Interview with Ken Gonzales-Day

"On the one hand we'd love to see all such boundaries disappear, and on the other hand, we're also trying to see that the different concerns, interests, and histories of particular communities are somehow reflected in the landscape, and in the museums, institutions, and newspapers that represent this city on some level."

News from the World of Photography: October 2017


William Eggleston, at 78, in a New Key

The New York Times

William Eggleston is widely considered one of modern photography’s most influential artists. The prolific piano playing that’s been his other lifelong passion, however, has remained more of an insiders’ secret.

“People know my photographs because they’re published in books and shown in galleries and museums and so forth, and yet I don’t perform music in public, ever — only in front of good friends who really want to hear it and who really listen,” Mr. Eggleston, who is 78, said in a recent phone interview from his Memphis apartment...

The Grain of the Present

Pier 24
San Francisco, CA
1 April 2017 - 31 March 2018

The Grain of the Present, Pier 24 Photography’s ninth exhibition, examines the work of ten photographers at the core of the Pilara Foundation collection—Robert Adams, Diane Arbus, Lewis Baltz, Bernd and Hilla Becher, Lee Friedlander, Nicholas Nixon, Stephen Shore, Henry Wessel, and Garry Winogrand—whose works share a commitment to looking at everyday life as it is. Each of these figures defined a distinctive visual language that combines formal concerns with a documentary aesthetic, and all of them participated in one of two landmark exhibitions: New Documents (1967) at the Museum of Modern Art, New York, or New Topographics (1975) at the International Museum of Photography, George Eastman House, Rochester.

Looking back, inclusion in these exhibitions can be seen as both a marker of success and a foreshadowing of the profound impact this earlier generation would have on those that followed. Although these two exhibitions were significant, most of these photographers considered the photobook as the primary vehicle for their work. At a time when photography exhibitions were few and far between, the broad accessibility of these publications introduced and educated audiences about their work. As a result, many contemporary photographers became intimately familiar with that work, drawing inspiration from it and developing practices that also value the photobook as an important means of presenting their images.

The Grain of the Present features the work of these ten groundbreaking photographers alongside six contemporary practitioners of the medium—Eamonn Doyle, LaToya Ruby Frazier, Ed Panar, Alec Soth, Awoiska van der Molen, and Vanessa Winship. This generation embodies Wessel’s notion of being “actively receptive”: rather than searching for particular subjects, they are open to photographing anything around them. Yet the contemporary works seen here do not merely mimic the celebrated visual languages of the past, but instead draw on and extend them, creating new dialects that are uniquely their own.

Nicholas Nixon: Exhibition in Madrid. Fundación MAPFRE Bárbara de Braganza Exhibition Hall

Fundación MAPFRE
Madrid, Spain
14 September 2017 - 7 January 2018

Concentrating particularly on portraiture, Nicholas Nixon occupies a distinguished and unique place in the history of photography over recent decades. His work exposes the constant tension between the content and the emotions that underlie his images. His photos reveal to us the realities of his daily life through a very refined technique and careful composition. We are presented with themes and aspects of life that, through their familiarity and humanity, induce the viewer to feel part of and identify with the images. 

Over his career spanning nearly fifty years, Nixon has always worked using series. Some of them such as The Brown Sisters or his family portraits extend throughout his entire career. His method of working requires a great deal of time: as much due to the intimacy and confidence he demands from his subjects as for the technique he employs (large format camera). The relationship he needs to establish with his subjects and the themes on which he concentrates once again demand a lot of time in order for him to achieve his objective: the elderly, the sick, the intimacy between couples and the family. 

After showing in Madrid, in 2018 and 2019 the exhibition will move to the Centro Andaluz de la Fotografía, C/O Berlin and Fondation A in Brussels.

Catharsis: Amak Mahmoodian, Sara Davidmann, Mariela Sancari

Belfast Exposed
Belfast, Ireland
27 October - 23 December 2017

Belfast Exposed is pleased to present Catharsis - a new group exhibition which brings together three projects by contemporary photographers who use portraiture in innovative ways to explore and come to terms with complex family or personal histories.  Employing different strategies, each artist uses photography as a means to unravel or respond to a repressed narrative around personal identity.  Through the process of creative investigation they open a broader dialogue around the constraints that societal norms can impose upon the freedom of individual expression.  

Bruce Davidson: American Photographer

Nederlands Fotomuseum
Rotterdam, Netherlands
16 September 2017 - 7 January 2018

This autumn the Nederlands Fotomuseum will be presenting the first retrospective in the Netherlands of the work of American photographer Bruce Davidson (b. 1933). Since the 1950s, Davidson has devoted his time and energy to photographing those for whom the ‘American Dream’ has turned out to be unattainable and who have attempted to hold their own in society.

Davidson depicts major themes as civil rights, violence, poverty, racism and immigration, all from a personal perspective. For many years, for instance, he tagged along with a street gang in Brooklyn and travelled with civil rights activities to the South to take part in The Selma March. This approach has given him first-hand experience with the subjects of his work and enabled him to poignantly show what the ‘American Dream’ has meant for them. The exhibition features almost 200 photographs, including work from his famous series The Dwarf, East 100th Street and Subway.

The exhibition is the result of collaboration with Magnum Photos and the Fundación MAPFRE. The exhibition and international tour have been made possible thanks to the support of the TERRA Foundation for American Art.

A Green and Pleasant Land: British Landscape and the Imagination, 1970s to Now

Towner Art Gallery
Eastbourne, UK
30 September 2017 - 21 January 2018

This major survey exhibition focuses on artists who have shaped our understanding of the British landscape and its relationship to identity, place and time. Exploring how artists interpret urban and rural landscape through the lens of their own cultural, political or spiritual ideologies, the exhibition reveals the inherent tensions between landscape represented as a transcendental or spiritual place, and one rooted in social and political histories.

Though primarily photography, A Green and Pleasant Land includes film, painting and sculpture by over 50 artists, illustrating the various concerns and approaches to landscape pursued by artists from the 1970s to now.

Artists included in the exhibition: Keith Arnatt, Gerry Badger, Craig Barker, John Blakemore, Henry Bond and Liam Gillick, Paul Caponigro, Thomas Joshua Cooper, John Davies, Susan Derges, Mark Edwards, Anna Fox, Melanie Friend, Hamish Fulton, Fay Godwin, Andy Goldsworthy, Paul Graham, Mishka Henner, Paul Hill, Robert Judges, Angela Kelly, Chris Killip, John Kippin, Karen Knorr, Ian Macdonald, Ron McCormick, Mary McIntyre, Peter Mitchell, Raymond Moore, John Myers, Martin Parr, Mike Perry, Ingrid Pollard, Mark Power, Paul Reas, Emily Richardson, Ben Rivers, Simon Roberts, Paul Seawright, Andy Sewell, Theo Simpson, Graham Smith, Jem Southam, Jo Spence, John Stezaker, Paddy Summerfield, The Caravan Gallery, Chris Wainwright, Patrick Ward, Clare Woods and Donovan Wylie.

The British Journal of Photography

“There are two important things about this show,” says Clément Chéroux, senior curator of photography at SFMOMA. “First, the quantity of work – more than 300 photographs, quite a large selection, because we were able to get support from most of the big institutions – MOMA, the Art Institute of Chicago, the Metropolitan Museum of Art, National Gallery of Canada, the Musée du Quai Branly and so on, and private collections from around the world.

“Second, is the fact that it is arranged thematically rather than chronologically. Usually when you look at important retrospectives they are chronological, but we organised by theme because we wanted to organise it around Evans’ passion for the vernacular. He was fascinated with vernacular culture.”

It is, as Chéroux says, a huge show – the first to take up the SFMOMA’s entire Pritzker Center for Photography, which, at over 1000 square meters, is America’s largest photography gallery. But though a retrospective of this size is entirely appropriate for one of the 20th century’s key photographers, what’s emphasized isn’t his monumental importance or his ongoing influence. Instead, it hones in on his love for the more humble and every day...

At FotoFocus, the Radical Notion That Women Are People


    Two weeks before the Women’s March on January 21, 2017, Sara Vance Waddell posted a message on Facebook asking marchers to save their protest signs. Vance, a philanthropist who primarily collects art made by female-identified artists, wanted to make an exhibition of artwork from the march at the gallery in her home in Cincinnati, Ohio. When the signs that protesters sent began piling up, Waddell realized she had a bigger project on her hands. Like many Americans, prior to the 2016 presidential election, Waddell hadn’t thought of herself as an activist. But suddenly it was clear, as one participant wrote in thick black ink on a cardboard placard, that “The Future is Nasty.”

Are we living in a moment of emergency feminism? Among the gathering of artists, critics, scholars, and cultural workers at the FotoFocus symposium “Second Century: Photography, Feminism, Politics,” presented in Cincinnati in October, there was a mood of enlivened solidarity, a sense that if you’re not outraged, you’re not paying attention. The symposium opened with a panel discussion by FemFour, the group that Waddell assembled to turn her Women’s March project into a traveling exhibition, but the subsequent panel discussions and keynote addresses often took on the energy of a teach-in. Although the FemFour’s project is not concerned specifically with photography, their discussion seemed an appropriate way to open FotoFocus. For curator Maria Seda-Reeder, who worked with Waddell to assemble the collection, the Women’s March project had an emotional dimension. In working with FemFour, she had connected to other women who were also “mad as hell.”...

Illuminating India: Photography 1857-2017

Science Museum
London, UK
4 October 2017 - 31 March 2018

Shortly after its invention in Britain in 1839, photography arrived in India. It was used by the British as a tool to document and exert power over the people, architecture, and landscapes of the subcontinent but it also became a medium for Indians themselves to express their unique experiences of the country.

This exhibition brings to light the previously overlooked Indian photographers who worked in parallel with their foreign counterparts from the 1850s onwards.

Pivoting around two key dates—1857, the year of the Mutiny and 1947, the year of Independence and Partition—it is an ambitious survey of the technological and artistic development of photography in India that examines the role the medium has played in charting the country’s modern history.

Among the images are works by Samuel Bourne, art photography pioneer Maharaja Sawai Ram Singh II, Henri Cartier-Bresson and award-winning contemporary photographer Vasantha Yogananthan.

Hilla Becher on making art and a life with Bernd

British Journal of Photography 

An exclusive interview with Hilla Becher, revisited as Hauser & Wirth Zurich stages a large new exhibition of Bernd & Hilla Becher's seminal work, curated by their son Max. First posted on 25 March 2015

One of the dominant influences in contemporary European photography is wheeled into the restaurant at the NRW Forum, a grand art gallery a stone’s throw from the Rhine.

It’s the height of the Düsseldorf Photo Weekend, and people of all ages are passing through the galleries on either side of us. Many of them won’t realize it, but most of the photography here is deeply indebted to this slight and unassuming woman, born in East Germany before the war, and now happily talking over pasta and wine in the café.

She has now been without Bernd, her husband, for more than seven years, after he died from complications during heart surgery. That straight bob of blonde hair is greying. She is now 81, and sits slightly stooped in her wheelchair. You have to strain to hear what she says, yet she recounts her life with a remarkable wit and poise. Some people start to switch off at this age; Hilla Becher, it seems, could not be more connected to her surroundings...

Passport Photos and Online Porn: The Dizzying World of Thomas Ruff

The New York Times 

Thomas Ruff was explaining how pleased he was about his forthcoming retrospective at the Whitechapel Gallery here when we were interrupted by an unearthly shrieking. A fire alarm had gone off; we and the technicians installing the show would have to be evacuated. Dumped politely but unceremoniously on the street, we continued the conversation on the sidewalk, with Mr. Ruff broadcasting his thoughts to pedestrians and passing traffic.

The incident was unplanned (a false alarm), but had a twinge of poetic justice. Revered in his native Germany and among the photographic cognoscenti, Mr. Ruff, 59, has often seemed a little outside the art-world mainstream. While contemporaries including Andreas Gursky and Thomas Struth — both of whom trained, like Mr. Ruff, with the pioneering conceptual photographers Bernd and Hilla Becher — have become stars of the market and familiar names in museum collections worldwide, Mr. Ruff’s work, though far from unknown, is not seen nearly as often as it should be. The Whitechapel exhibition is the biggest Ruff retrospective the English-speaking world has yet seen...

The Photographer Who Saw America’s Monuments Hiding in Plain Sight

The New York Times Magazine

Almost inevitably for an artistic career stretching over more than five decades, the quality of the work is uneven. Unlike Winogrand, Friedlander hasn’t given up on editing, but he is more interested in taking pictures and getting them out than in scrupulously curating his own oeuvre. “It’s a generous medium, photography,” he is quoted as saying in the epigraph to the MoMA catalog. He was thinking particularly of a picture of his uncle, which also included a bunch of other, unintended information. “The American Monument” came about in similar fashion, when he noticed that memorials and statues of all kinds cropped up in multiple contact sheets, some of which were primarily concerned with other matters. After that, he began seeking out such monuments in the course of his travels throughout the States.

On receipt of a lifetime achievement award from the International Center of Photography in 2006, the 71-year-old Friedlander responded that the honor, while welcome, was premature. At the glamorous reception and dinner, he spent the evening photographing, snapping guests and the other honorees like a cub photographer eager to make the most of what might prove to be his big break. That break actually came in 1967 at MoMA when he, Garry Winogrand (who died in 1984) and Diane Arbus (who died in 1971) were chosen to represent a shift in documentary photography from social concerns toward more personal ends. It’s possible that his reputation, as it has risen in the decades since, has also suffered, in the way that Dizzy Gillespie’s did in comparison with that of his doomed fellow bebop pioneer Charlie Parker.

Lee Friedlander’s “The American Monument” was first published in 1976. That’s “monument” singular, though one of the many singular things about Friedlander is that he’s nothing if not a pluralist. Whitman-like, he is great, contains multitudes. In an essay appended to the sumptuous new edition of this landmark work, Peter Galassi (who curated the 2005 Friedlander retrospective at the Museum of Modern Art) deems it “pointless” to try to count precisely how many books the photographer has published since 1976 before settling on roughly one a year. The retrospective was huge, and, inevitably, the accompanying catalog was almost too hefty to lug home comfortably. It was sort of monumental, though monuments tend to be erected to the dead.
Eventually he had enough pictures for a book — which, in Friedlander-ese, means more than enough. The original edition boiled thousands of potential candidates down to 213, the bulk of them taken between 1971 and 1975, supplemented by a brilliant afterword by Leslie George Katz. That essay still feels remarkably fresh in the reprint, even though Katz’s observations occasionally gleam with a faith in the assumption of the continued worth of monuments that may turn out to be “discredited,” “outmoded” or ironically apposite, as when he says of their power, “Something like racial memory is at work.”...

The Eye of Photography

On October 22nd 2017 The Griffin Museum of Photography, near Boston, gave Elizabeth Avedon a  Lifetime Achievement award,  for promoting new and emerging photographers, and “whose ongoing commitment to photography has created far-reaching impact”. Elizabeth Avedon, a book designer for decades, for years a frenetic writer on young photographers and their work on her blog, the daughter-in-law of the famous photographer, is also a contributor to The Eye of Photography since its debut. Today’s edition is entirely dedicated to her.

In the past years, she has been profiling notable leaders in the world of photography such as Joel-Peter Witkin, W.M. Hunt, Anne Wilkes Tucker, among many others. She has received awards and recognition for her photography exhibition, design and publishing projects, including the retrospective exhibition and book, Avedon: Photographs 1949-1979 for the Metropolitan Museum of Art, Dallas Museum of Fine Arts, and Atlanta’s High Museum; and Richard Avedon: In the American West for the Amon Carter Museum. Elizabeth Avedon recreated the original 1974 Museum of Modern Art exhibit, Jacob Israel Avedon: Portraits of the Photographers Father with Photographs by Richard Avedon, for the opening of the Center for Creative Photography, Tucson, Arizona.

In conjunction with Random House, she co-published the series Elizabeth Avedon Editions/Vintage Contemporary Artists, pairing distinguished art critics such as Donald Kuspit, Peter Schjeldahl, and Barbara Rose with contemporary artists Francesco Clemente, Louise Bourgeois, Robert Rauschenberg, Eric Fischl among others. Former Director of Photo-Eye Gallery, Santa Fe; Creative Director for The Gere Foundation; Art Director for Polo Ralph Lauren national ads; Elizabeth Avedon mentions one of her favorite projects was with the Detroit Center for Contemporary Photography on a juried black and white photo publication, fossils of light + time, reflecting the spirit of a seductive quote by Daido Moriyama: "If you were to ask me to define a photograph in a few words, I would say it is “a fossil of light and time.”

“The Twitter feed of master photo book designer, curator and author Elizabeth Avedon is a one-stop shop for the best and latest in photography,” wrote Mia Tramz in TIME Magazine. “As a hub of the photographic world, Avedon’s feed surfaces must-see photography exhibits, the most interesting photo events and content from her equally excellent blog where she frequently interviews the industry’s most legendary figures.”

Elizabeth Avedon’s award has been presented by Sean Perry, an architecture photographer based in Austin, Texas and New York City.

Biennial of Photography on Industry and Work

Bologna, Italy
12 October - 19 November 2017

For this third edition, presenting fourteen exhibitions by some of the world’s most important photographers, the MAST Foundation is multiplying its commitment by creating a temporary, living and participatory community that is renewed every two years with the same urge to exchange ideas triggered by the narrative force of the images.

Swann Auction Galleries 

Robert Delpire, Champion of Photography as Art, Dies at 91

The New York Times

Robert Delpire, a French publisher and editor whose championing of the work of Henri Cartier-Bresson, Robert Frank and Josef Koudelka helped elevate photography as an art, died on Sept. 26 in Paris. He was 91.

His death was confirmed by Michael Hoppen, whose gallery has exhibited the photographs of Sarah Moon, Mr. Delpire’s wife.

Mr. Delpire (pronounced del-PEER) created his own photographic universe in Paris — publishing books, curating exhibitions and directing the Centre de National de la Photographie for more than a decade after it opened in 1982. It is now part of the Paris arts center Jeu de Paume.

“He was an uncompromising lion,” Peter MacGill, of the Pace/MacGill Gallery in Manhattan, said in a telephone interview. “He would
if he felt something was to be done a certain way, let other realities encroach on the making of a book or exhibition. He didn’t care...

Photography Lovers A Guide to Pacific Standard Time: LA/LA

Photography Lovers A Guide to Pacific Standard Time: LA/LA

Pacific Standard Time: LA/LA is a Getty-led collaboration between arts institutions across Southern California which explores Latin American and Latinx Art as it relates to Los Angeles.  Exhibitions are happening at more than 70 institutions, so we made a list of our top ten must-sees.  For a complete list visit

PHOTOCULTURE: Interview with Michael Dawson

PHOTOCULTURE: Interview with Michael Dawson

Michael Dawson is a private dealer and appraiser specializing in rare books and fine art photography, including historical photographs of California and the Southwest. Michael has written widely on photography and has owned and operated his own gallery as well as the celebrated Dawson's Books Shop in Los Angeles–a business established by his grandfather in 1905.

News from the World of Photography: August 2017


Graciela Iturbide talks about going viral, L.A. cholos and shooting Frida Kahlo's bathroom

The Los Angeles Times

Countless photographers hope to produce a single indelible image over the course of their careers, something so unforgettable it is seared onto the collective unconscious. Mexican photographer Graciela Iturbide has made not one but several of these images.

There’s the photograph of a Zapotec woman in a southern Mexican market, her head draped in a crown of iguanas striking a pose. There is the spectral figure of an indigenous Seri woman, clad in a long dress, who floats through the desert clutching only a boom box. And there is the woman, with the seen-it-all stare, having a drink and a smoke in a Mexico City bar — her mortality, and ours, writ large in a mural of a skull that looms large over her shoulder.

There are others who are recognizable too: The Zapotec transgender woman framing her striking features with a mirror. A mask-wearing reveler standing in the middle of a dry field, the party over, out of time.

Iturbide’s images are part of museum collections all over the world, including the San Francisco Museum of Modern Art in the Bay Area and the Getty Museum in Los Angeles.

Photography in Canada: 1960-2000

National Gallery of Canada
Ottawa, Canada
7 April - 17 September 2018

Experience the diversity of Canadian photographic practice and production from 1960 to 2000 in this exhibition organized by the Canadian Photography Institute of the National Gallery of Canada. Bringing together more than 100 works by 71 artists — including Raymonde April, Edward Burtynsky, Lynne Cohen, Angela Grauerholz, Michael Snow, Jeff Wall and Jin-me Yoon — it explores how the medium articulated the role of art and the artist in an ever-changing world, along with differing ideas of identity, sexuality and community.

Formulated around themes such as conceptual, documentary, urban landscape and portrait, this exhibition celebrates the enormous growth of the practice, collection and display of photography over more than four decades. 

Photographic Treasures from India


To mark the 70th anniversary of Indian independence, an exhibition of photographs examines some of the earliest documentation of the country.

The Unsung Hero of South African Photography


Andrew Tshabangu’s two decades-plus visual repertoire, the best of which was showcased earlier this year at Johannesburg’s Standard Bank Gallery and Gallery MOMO in Footprints, is provocative and ultimately liberating. With its exploration of blackness as a lived, if banal and mundane experience (just as it is with any other racial group), Footprints, which was curated by Thembinkosi Goniwe, is also notable for its simplicity and aching, often sweeping quietness, and clarity. In “The Value of Andrew Tshabangu’s Photography,” an essay in the accompanying monograph, published by Fourthwall Books, the curator, critic and novelist Simon Njami tells us that Tshabangu’s journey began in the place where he was born, namely, South Africa. “While biography is never a trivial part of the analysis of any artist’s work,” Njami writes, “in Tshabangu’s case the contextual elements seem to render fundamental clues to a deeper understanding of his universe.”

PHOTOVILLE returns to Brooklyn Bridge Park 

Brooklyn Bridge Plaza
13-17 September & 21-24 September 2017 

Returning to its iconic location at the Brooklyn Bridge Plaza—located in DUMBO’s Brooklyn Bridge Park beneath the majestic span of the Brooklyn Bridge— Photoville will once again create an immersive photography village populated by 55+ shipping containers repurposed into galleries.

The 2017 festival will present five nights of programming in the Beer Garden, numerous hands-on workshops, an education day for New York City middle and high-school students (proudly supported by the New York City’s Mayor’s Office of Media and Entertainment), three full days of panel discussions and talks presented next door at St. Ann’s Warehouse, tents with family-friendly photo activities, photo publishers, gear demonstrations, a community photo book store run by Red Hook Editions, tintype portraits by the Penumbra Foundation, and a beer garden with a range of food vendors from Smorgasburg and Brooklyn Brewery beers.



British Journal of Photography

Swedish organisation Fotografiska is to open a new centre for photography in London’s Whitechapel. The 89,000 sq ft lower ground space plus office, which is located near Whitechapel Gallery, is due to be completed in the second half of 2018, and has been rented by Fotografiska for 15 years (with a break option at 12 years).

“Fotografiska has for a long time been searching for suitable facilities in London, one of the world’s most dynamic cities when it comes to photography,” said Tommy Rönngren, founding partner and chair of the board of Fotografiska London. “Whitechapel, which is one of London’s most dynamic areas, will be a perfect location. It will be really exciting to bring the concept of Fotografiska to London.”

Fotografiska already runs a 59,000 sq ft contemporary photography centre in Stockholm called The Swedish Museum of Photography, which opened in 2010 and shows four major exhibitions per year. Previous exhibitions include solo shows by Guy Bourdin, Sarah Moon, Annie Leibovitz, Lars Tunbjörk and Anders Petersen. The organisation also reportedly signed a lease this summer for all six floors, 45,000 sq ft, of the 281 Park Avenue South building in New York.

Southern Elegy: Photography from the Stephen Reily Collection

Speed Art Museum
Louisville, Kentucky
17 March - 14 October 2017 


The Speed Art Museum is pleased to present Southern Elegy: Photography from the Stephen Reily Collection, an exhibition of photographs from the Louisville-based collection of Stephen Reily. Reflecting the complex history of the American South, the images in this exhibition address the themes of loss, ruins, beauty, and violence, through evocative images of the South’s natural landscape, architecture, and residents. Southern Elegy features 75 photographs, chiefly spanning from the 1930s to works from the past decade. The 14 photographers represented include George Barnard, William Christenberry, William Eggleston, Walker Evans, Robert Frank, William Gedney, Frances Benjamin Johnston, Clarence John Laughlin, Russell Lee, Deborah Luster, Sally Mann, Ralph Eugene Meatyard, Robert Polidori, and Doug Rickard.

Having researched the photographers who have documented the American South from the nineteenth century to present day, Reily built a collection on the premise of photography as an elegiac
process, or a poetic form of “capturing loss.” As a medium that records the past, photography provides a means of exploring the contested and difficult history of the South through the documentation of specific moments and places. The South provided artists with a landscape shaped by slavery and the Civil War, and in later decades, discrimination, poverty, violence, and human made disaster. Reily explains, “Southern photography is often inspired by its own sense of captured memory, self-aware of the losses that underlie the landscape before us as well as the losses that will transform it once again.”

Longer Ways to Go: Photography of the American Road

Phoenix Art Museum
Phoenix, Arizona
15 April - 15 October 2017

The most recent collaboration between Phoenix Art Museum and the University of Arizona’s Center for Creative Photography (CCP), Longer Ways to Go: Photography of the American Road delves deep into the complex dialogue that photography can enter into with a subject dear to many. This exhibition explores the symbiotic relationship between photography and the folklore of the American highway, including the emblematic Route 66. Longer Ways juxtaposes photographs from different eras, exploring themes related to travel, ideals of small-town life, the national heritage of westward expansion, and personal freedom.


Fondation Cartier pour l'art Contemporain

Thirty years after the exhibition Hommage à Ferrari, the Fondation Cartier will once again focus its attention on the world of cars with the exhibition Autophoto dedicated to photography’s relationship to the automobile. Since its invention, the automobile has reshaped our landscape, extended our geographic horizons and radically altered our conception of space and time, consequently influencing the approach and practice of photographers.

The exhibition Autophoto will show how the car provided photographers with a new subject, new point of view and new way of exploring the world. Organized in series, it will bring together 500 works made by 100 historic and contemporary artists from around the world including Jacques-Henri Lartigue, Lee Friedlander, Rosângela Renno and Yasuhiro Ishimoto. Capturing the geometric design of roadways, the reflections in a rear-view mirror or our special relationship with this object of desire, these photographers invite us to look at the world of the automobile in a new way. 


For artists at the dawn of the 20th Century, the modern world must have seemed like a bright, shiny and inspiring place. Think of FT Marinetti, whose rhapsodic Futurist Manifesto, published in 1909, extolled factories and shipyards, bridges and railway stations, locomotives and racing cars. “A roaring car that seems to ride on grapeshot is more beautiful than the Victory of Samothrace,” he wrote. 

By the time of the artistic maturity of the US photographer Walker Evans (1903-75), though, much of that seductive appeal had worn off. As an important retrospective of more than 400 artworks at the Pompidou Centre in Paris reveals, Evans, unlike Marinetti, was no cheerleader for modernity.

In a way, this is surprising, since the show suggests that Evans’ photographic career began conventionally enough, as a budding modernist. Indebted to formal innovations by avant-garde photographers such as the Russian Alexander Rodchenko, Evans’ boldly framed early pictures, from the late 1920s, eulogised New York’s awe-inspiring architecture. Like many others, he felt compelled to photograph Brooklyn Bridge and Broadway...

The Face of Battle: Americans at War, 9/11 to Now

Smithsonian National Portrait Gallery
Washington DC
7 April 2017 - 28 January 2018

Since September 11, 2001, the United States has been engaged in multiple wars, varying in intensity, locale, and consequence.  After fifteen years, this warfare has become normalized into our social and cultural landscape; it is ongoing, yet somehow out of sight, invisible.

The Face of Battle: Americans at War, 9/11 to Now explores and assesses the human costs of ongoing wars through portraiture. The exhibition title is drawn from John Keegan’s classic military history, which reorients our view of war from questions of strategy and tactics to its personal and individual toll. Featuring fifty-six works by six artists, the exhibition includes photographs by Ashley Gilbertson, Tim Hetherington, Louie Palu, and Stacy Pearsall; site-specific installation of drawings by Emily Prince; and paintings, sculpture, and time-based media by Vincent Valdez.

With this poignant exhibition, the National Portrait Gallery will put a face on recent wars through the work of artists who have pictured the experience of common soldiers. The Face of Battle will also bring to public attention the latest formal developments in the field of portraiture as practiced by a diverse and talented group of artists. The exhibition will place the focus on the identity and experiences of ordinary soldiers who fought and continue to fight for our nation.


Belgian photographer Nick Hannes has been pursuing independent documentary projects for over a decade. His travels (and curiosity) have taken him across the 15 former Soviet Republics as well as all around the Mediterranean Sea, and yet his latest work focuses on a completely different part of the world: the city of Dubai.

In the series, titled “Bread and Circuses,” he focuses on leisure and consumerism in one of the capitals of extravagant consumption. Through his camera, he focuses on the bizarre peculiarities of this unique city—his hope is to tell a more universal story about humanity’s relationship to pleasure and entertainment.

LensCulture managing editor Alexander Strecker reached out to Hannes to find out more about his project and Hannes’ process. Below is an edited transcript of their exchange...

Gösta Peterson, Barrier-Breaking Fashion Photographer, Dies at 94

The New York Times

Gösta Peterson, a self-taught photographer who made fashion history with his magazine covers of a once-spurned black model, Naomi Sims, and an androgynous British waif nicknamed Twiggy, died in Manhattan. He was 94.


At first glance, Kate Ballis’ candy-coloured landscapes are reminiscent of the hand-tinted photographs that were prevalent in the mid-19th century, but these gorgeous popsicle-palette images were created with the aid of a specially converted infrared camera as opposed to a paintbrush. “I first came across the technique at the Venice Biennale in 2013, where Richard Mosse had used the process to represent the violent conflict in the Eastern Republic of Congo,” she explains. “In his work it seems like he’s subverting these horrors and creating something aesthetically beautiful.”

No Longer Seeing the World Through Men’s Eyes

The New York Times LENS Blog

The first Women Photograph grants to support personal projects by female visual journalists have been presented to Alex Potter, Lujan Agusti, Gabriella Demczuk and Néha Hirve. Women Photograph, a new organization, aims to help women gain opportunities in an industry that has historically been dominated by white men and has been rife with sexism.

Most new photography grants or awards are announced with great fanfare promising long-term impact. But if Women Photograph succeeds in helping visual storytellers, there may eventually be no need for it, said Daniella Zalcman, a freelance photographer who founded the group.

“In some perfect world of the future, half of working photojournalists will be women and there will not need to be grants for photographers of color or female photographers,” she said. “But right now, as we work to level the playing field, we absolutely need to create intentional opportunities to address the huge imbalances in the photojournalism community.”

The group’s website and database features 550 female and female-identifying photographers from 87 countries who are available for editorial assignments and have more than five years of professional experience. They have been advocating for more jobs and editorial assignments for women photographers from leading publications, and its private Facebook group has become a forum to exchange professional tips and occasionally to discuss instances of sexual harassment and gender bias...

Elliott Erwitt in Hungary

Magyar Fotográfusok Háza
Budapest, Hungary
15 June - 10 September 2017


Elliott Erwitt, the world-renowned photographer took pictures of Hungary in 1964. A selection of these images will be showcased for the first time in Hungary at the Mai Manó House in the summer of 2017.