Spirit + Flesh, a collection of Fakir Musafar’s self-portraits, document the extremes to which Musafar subjects his own body, from compression to piercing.
Mitch Epstein’s enigmatic approach to conveying life in New York City gives one “the opportunity to ponder what photography can and cannot reveal about our public lives and our most private selves,” according to reviewer Marvin Heiferman.
Two decades ago, when a cheeky new generation of artists began appropriating media images, their tactics helped lay the groundwork for a self-conscious and ironic point of view that now permeates culture—from terminally hip ads to the wink-wink dumbness of the latest television cartoons.
Helen Gee, in her charming and frequently hilarious memoir, Limelight: A Greenwich Village Photography Gallery and Coffeehouse in the Fifties, tells how and why she was able to keep this country’s only serious photography gallery in the 1950s open and solvent.
Robert Stivers’s photographs are eerie reveries, dreams in which the face or figure of a person you’ve desired or loved or hated or have been terrorized by hovers uncomfortably above your body in the darkness.
Browsing through her diaries in preparation for a retrospective monograph to be published by Scalo books, Tina Barney realized she’d been contemplating photographing nudes since the 1980s
When summer comes around, it brings association with it: cars with windows rolled down and radios turned up, barbecues, skies staying light as hot days cool down into evening.
“Maybe there shouldn’t be any difference between how one looks at art and how one looks at anything else?” And I work on that premise. If it’s interesting, it’s interesting.”