The pioneering photographer releases an album of synth and piano works.
Following loosely in the tradition of the book-length photo-essay yoking images to text in a documentary mode, Cole has gently torqued this form.
Vincent Zompa is the author of the poetry collection Heard Animal and several chapbooks.
Suburban sprawl and craft-store spree meet creeping apocalyptic bleakness.
The institution of institutional critique
Humor, commerce, and family play big roles in Ethridge’s conceptual photography.
The origins of nostalgia and some theoretical foundations of photography.
Paper Clip is a weekly compilation of online articles, artifacts and other—old, new, and sometimes BOMB-related.
“Photography is a translation of color and tones—a language. And just as significant is that absolutely nobody possesses an accurate color memory.”
Uta Barth brings a new meaning to close looking.
“It is a disgraceful world, populated by some creatures that were once humans, but now these living beings are degraded, ghastly, appalling.” Kevin Kinsella discusses the photography exhibition, Boris Mikhailov: Case Study, which runs at MoMa until September fifth.
An exhibition of photographs from three series, exploring absence, decomposition and dislocation. Shot in Cape Town and New Orleans, subjects vary from migrants in their intimate spaces, empty beds, and ruined houses.
Fellow artist Adam Pendleton discusses Xaviera Simmons composed and staged, yet disquieting, images.
Adam Bartos is a complex and reserved observer, a laid-back official from an agency that never was, The Discerning Eyes of the Arts.
James Welling on the photographs of Louise Lawler and how photography is “a medium without grammar.”