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...
Art book master highlights beauty of printed works. -- GlobalPost Steidl became a registered craftsmen as a master of silkscreen printing through self-study in 1974. He now produces some of the best printed photo books in the world.
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...
I have been making photographs for the past 40 years. My subject matter has primarily been portraits of artists. These images were made during studio visits, on trips with the artists, on vacations, in our gallery, or in my informal studio in a garage behind the gallery.
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