In Mark McKnight’s photographs, the material of the terrestrial world merges with a celestial aspect. Dark bodies, asphalt, oily birds, decomposing stone, and dimpled flesh all radiate from a field of tarry shadow.

Contis explores the construction of myth, place, and masculine identity in the enduring imagery of the American West.

From Unnamed Road, 2010–15, a series of photographs taken in Israel and Palestine.

HESTER

Perhaps nowhere in the world is the line between beauty and kitsch finer than it is in New Orleans.

“We have to tell the truth in the image.”

“Photographers and artists are alchemists at the highest level, I think.”

No. XXXXXXXXXX is a personal atlas of the ways in which the letter X has been used in contemporary Mexican architecture.

“Yes, I believe in life online, the way a person in 1910 might believe in aviation, or a person in 1455 might believe in movable type: with excitement and apprehension.”

“The movement of the crowd edged towards the Avenue Mariscal Lopez where the processions wre passing” (Graham Greene, Travels with my Aunt, p. 217). 

A poignant vision of our country from the great American photographer Edward Weston is on view now at the Museum of Fine Arts, Boston.

Photographer and curator LaToya Ruby Frazier sat down with painter Greg Lindquist to discuss the aesthetics of gentrification and decay.

This First Proof contains a portfolio of four works by Valérie Belin.

In 1976 I had been making photographs for a couple of years. I had certainly been looking at a lot more photographs than I had actually made. 

Several historical moments, technological stages of development, and political agendas converge at Mount Livermore, which is located 50 miles from the US–Mexico border in far West Texas.

She calls the cold, nine-second ladder
in her spine amber/elektron.

“In another time I guess I would have been content with filming girls and cats.