Street Photography

Looking at contemporary photography within a larger historical legacy.

Groundbreaking digital photography.

“The street is always interesting because any world of images I construct is promptly dismissed once I go outside.”

For the past five years I have been engaged in a quixotic process cataloguing the artifacts of a material world in decline.

As in music, one thing leads to another. A long time ago I received an email from someone I didn’t know.

Discovered shortly before his death, Ademeit’s work is composed of photographs and annotations that tell the story of an individual undergoing an emotional crisis and attempting to establish a sense of order in a world that he considered to be chaotic.

In Chinatown, NYC, where Wendy White lives, new signs go up over outdated signs, new awnings are installed over old ones, graffiti is painted over, windows become walls, additions are built, architecture is modified, buildings disappear … White has become a connoisseur of these visual shifts.

Michael Schmelling made a book called Atlanta, a photo book about the Atlanta hip-hop scene. Then Richard Maxwell wrote a review of it.

“And somewhere in this tantrum of rebellion, I started to really love photography.”

For years, Lynn Saville has photographed cities at night.

On the occasion of Tod Papageorge’s “The Acropolis” series in Picture Magazine, we revisit his photographs of Central Park in the ’70s and his friendship with Garry Winogrand.

The photographs in Adam Bartos’s Boulevard, taken in Paris and Los Angeles, document places that are at once ubiquitous and hidden. 

This is a handsome book about the self-taught filmmaker and photographer Rudy Burckhardt, who was also a painter and a writer and, from the 1930s to the 1990s, the well-known photo-chronicler of New York artists and their studios.

Twenty-five years in the eyes of photographer Glen E. Friedman’s “Idealist” is a challenging record of diverse images. I

During the ’90s, a decisive change in Mexican photography occurred: nationalist references, which for so long had identified the exterior of Mexico, were dramatically abandoned by a new generation of photographers.

In her photographic work, Judy Linn records the ineffable.