In the book “The Invisible City” (Contrasto Publishing) urban spaces and buildings are revisited by Irene Kung, and become, through her camera, a different, silent and motionless space. Rome, New York, London, Madrid, Boston, Milan, Beijing…they are reimagined, becoming magical places, fascinating, full of enigmatic presence, invisible cities.
Yolanda Cuomo is the curatorial voice behind some of the 20th century’s greatest photographic books. This year, alongside Melissa Harris, Cuomo is co-curating the LOOK3 Festival of the Photograph in Charlottesville, Va., June 13 – 15, 2013.
The emergence of color photography has typically been narrated through the pictures of iconic American photographers like William Eggleston, Stephen Shore and Joel Meyerowitz. The scope of this dialogue has only recently been expanded to include photographers working elsewhere during the 1970s and early 1980s. Italian photographer Luigi Ghirri is a favored addition to this revised history.
Despite exposure in Europe during his lifetime, Ghirri remained relatively unknown outside of Italy.
Two years ago, I spent part of November with Carolyn Russo on a trip to China, so it was great to spend time with her at Photolucida and see the culmination of her global travels resulting in her project, The Art of the Airport Tower. In talking with Carolyn about the project, she spoke to the fact that airport towers will one day become obsolete due to advanced technology. Each tower has it's own distinctive architecture worth preserving on film.
“Photography is a medium of formidable contradictions. It is both ridiculously easy and almost impossibly difficult. It is easy because its technical rudiments can readily be mastered by anyone with a few simple instructions. It is difficult because, while the artist working in any other medium begins with a blank surface and gradually brings his conception into being, the photographer is the only imagemaker who begins with the picture completed. His emotions, his knowledge, and his native talent are brought into focus and fixed beyond recall the moment the shutter of his camera has closed.” – Edward Steichen
It’s important to have less information around so you can fill the space with ideas. I need white walls. I hate coffee table books that people have just for decoration, when no one ever looks at them and they take up space and collect dust.
Reviewed by John Camp TOP looks at quite a few books over the course of a year; this is a review of an unusual one called A Photojournalist's Field Guide, with the subtitle, "In the trenches with combat photographer Stacy Pearsall."
Karl Blossfelt It’s not often that I come across pictures of something as ordinary as common garden plants that stop me dead in my tracks, but Karl Blossfelt’s beautiful and intricate photographs currently on show at the Whitechapel Gallery did...
At a time when revolutions are breaking out across the world, Utopy explores the slogans, symbols of 20th century struggles that changed men’s destinies, from Martin Luther King, Ghandi, decolonization, the Vietnam War and 1968 to the feminist...
And I ask: How did the beauty of that hair, those eyes, beguile our forebears? How did that mouth kiss, to which desire curls up senseless as smoke without fire?
Thus Walter Benjamin breaks into poetry, citing the writing of Stefan George, in the 1931 essay “Little History of Photography”—this essay so strangely titled, sharing its self-stated size and density and intensity, we might say, with the object of its analysis, with photography itself—its images formerly miniaturized and condensed. What is a “Little History,” I’ve always wondered? The best I have come up with is that Benjamin’s is a text that wants to correspond with its object, an essay that wants to be like photography itself.
Même s’il ne se départit pas d’une forme de condescendance vis-à-vis du côté “facile” de l’utilisation d’Instagram, qui permettrait à n’importe quel quidam de réussir sa photographie, le dossier “Tous Photographes” de Télérama marque une évolution...