“The current political narrative that paints immigrants as invaders has been a part of our national conversation for a long time. I want people to be reminded that there is a long and deep history of immigration that forms the basis of our country’s strength.”
“Every snapshot is an unexpected and sometimes inconvenient encounter with fate”
Moriyama admits that repetition is his way of working, and that his impulse to reproduce his surroundings today is much the same as it was when he got his first camera, in junior high.
”The whole city though I am only in a neighborhood seems capable of changing its face as I am carried through it offering possibilities for omni-architectural and urban planning on rails”. I have this repeating dream in which I am in an urban environment not dissimilar to Berlin. The buildings have a late nineteenth century […]
Tthe more cultures and countries you get exposed to, the more you see that people are alike. We are all the same.” Marc Riboud
What exists of the sensual atmosphere is counterbalanced by scenes like street-side school for teaching the newly-blind how to walk and the mangled bodies, living and dead, just hanging around. By Owen Campbell, ASX, September 2015 2015’s Adieu Saigon is a collection of images shot in Vietnam, where Depardon began working as a photojournalist at […]
At its base, ‘Un Universe Pequeno’ seeks to convey, in visual terms, that of a similarity to speech. This is where the base of communication meets that of the expression of the visual.
The subjects in Watanabe’s photographs are the prostitutes, street people, Drag Queens, entertainers and gangsters (Yakuza) that populated Kabukicho at night.
In the summer of 1958, several months before The Americans made its debut in France, Frank began experimenting with moving pictures.
Blown apart by flash and that of night’s embittered black veil, the work makes for uncomfortable viewing and the best part about it, is that it purports to do none of this, but to simply be nocturnal. A slow and grinding glacial push can be heard from the edges of the city-state. People are […]
The content may criticize the media or the state or the history of photography, but I would be disappointed if the work were reducible to any one of those things.
William Gedney, largely unknown in art world, outside of a few colleagues and curators, including John Szarkowski, Lee Friedlander, and Diane Arbus.