On making documentary art and the imperfect pursuit of empathy.
Repurposing photographs of childbirth.
Two poets and a photographer discuss the presence of absence, the power of the number three, and art as documentation and disruption.
“It is the photographer’s responsibility to avoid misunderstandings.”
“The mill is a metaphor for all of us.”
“A photograph is always a record of a relationship.” —Susan Meiselas
Chroniclers of restless wanderlust.
After playing video poker and walking the boardwalk all night, we stopped by Trump Taj Mahal on our way out of town to gawk at the business our president ran into the ground.
In the spring of 2015, An-My Lê was invited by film director Gary Ross to photograph on the set of Free State of Jones, his period war film inspired by the life of Newton Knight, a Mississippi farmer and Southern Unionist who led an armed revolt against the Confederacy in 1864.
“A thousand clinics could not cure the sense of unreality that haunts Harlem as Harlem haunts the world.”
“I want the people I collaborate with to understand that they can move a way from the realities they’ve been placed into, that they can create a reality.”
“A solar is a peculiar multicultural habitat; the apartment tenements represent the complex layers of Cuban society. Everyone lives in tiny converted rooms with almost no privacy.”
Margaret Morton reports that on her first long drive through the mountains of Kyrgyzstan she was delighted when a skyline of minarets and domes appeared out of the silvery-blue, thin, stone-dry air, like a mirage.
When I arrived in London this past September to meet Adam Broomberg and Oliver Chanarin at their studio, the first thing we discussed was the power play between interviewer and interviewee.
A selection of images, some shown here for the first time, from photographer Mike Brodie’s series A Period of Juvenile Prosperity (2006–2009). A former teenage runaway himself, Brodie captures the adventurous spirit and difficult existence of his fellow freight train hoppers.
A selection of images from Chloë Bass’s 2011 series Practice of the Daily, shown here for the first time as a complete set. Bass uses performance and installation as a means to investigate the everyday, engaging the aesthetics of tacit but meaningful participation.