Kinder in einem Feriendorf / Martin Munkacsi / 1929 The Metropolitan Museum of Art has released a vast archive of 400,000 (mostly) hi-resolution digital images online that you can download and use for non-commercial purposes. From a 12-megapixel scan of Rembrandt's 1660 self-portrait to over
A force that important in visual culture is probably worth having a theory about. And in fact, rather than just being swept along by the stream of images, it may be possible for art—and art history—to add something to understanding the photo-sharing obsession.
"Technology has so democratized image-making that it has put the artistic power once mainly associated with aristocrats—to stylize your image and project yourself to an audience as desirable—into everyone's hands."
Hyman is a unique figure in the British photography scene–a dealer, collector, and former academic, he has a finger in many pies. As such, he is perfectly placed to discuss a broad spectrum of issues that concern British photography and the photo world in general.
A Study of Light, Shadows, and Framing: Street Photos by Ray Metzker PetaPixel Cementing his reputation as a master photographer, the museum of Modern Art in New York gave him his first one-man show in 1967.
JTF (just the facts): A group show of 41 artists/photographers, variously framed and matted, and hung against white walls in a series of four dimly lit rooms on the first floor of the museum and in one small gallery on the second floor.
MoMA’s new book Bill Brandt: Shadow and Light by Sarah Hermanson Meister, curator in the Department of Photography at MoMA, is a fresh look at the work of an iconic British photographer. The exhibition currently on view isn’t the first time MoMA has presentedBill Brandt’s work to the public—the last Brandt retrospective was in 1969. Since then, the Museum’s perspective of Brandt’s work has evolved into a more complete consideration of the nuances and variations in Brandt’s own photo-historical approach.
JTF (just the facts): A total of 156 black and white photographs, variously displayed in white, grey, and black frames with mats, and hung against white walls with grey horizontal stripes in three interconnected gallery spaces on the third floor of...
When I had first looked at Moriyama’s Okinawa it was to photograph the cover of the book on the ICP copy-stand. The clear, black and white contrast on the cover led me to quickly flip through the book before deeply looking into it.
“How should we judge what we see?” It’s a question posed to dramatic effect by a series of mostly large-scale photographs created by the iconic 59 year-old German photographer Thomas Struth, now on view at the Marian Goodman Gallery in mid-town Manhattan.
D Magazine In a Chelsea Photography Show, Two Dallas Curators Investigate the Fog of War D Magazine Featuring ten artists, documentary and war photographers, the exhibition illustrated the components that make up how the United States conducts war...
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