A well known curator once said that the problem with collage was that it’s too easy to make a decent one, while it’s almost impossible to create something great. Whether or not I am misremembering or
One of the biggest misconceptions of so-called street photography is that it can serve as a descriptor of the world (mostly cities) at large. It simply can’t any more (or less) than the rest of photog
The more I know about photography and the more I have become comfortable making my own photographs, the more I feel the need to experience its interactions with other human activities in which the rea
I have lived in the United States for almost half of my life, but I doubt that I will ever fully understand its intricacies. This is not because the US is more complex or sophisticated than any other
We all carry our hurt with us wherever we are. But often going away, far away, allows us to see that hurt more clearly and feel it more fully. If we allow ourselves to do so we then might find a way t
Photography operates through the transmission of agreed-upon codes that convey their underlying ideology. “Agreed-upon” here does not necessarily mean what a surface read might lead to. We do not ente
My first exposure to Keijo Kitajima’s work came in the form of Photo Express Tokyo, published in 2012 by Steidl/Le Bal. Billed as “a facsimile of the legendary series of twelve booklets” originally pu
If you take photographs out of the context of ordinary life — out of the lives lived by people who do not think of themselves as photographers or artists — to insert them into an art context, you will
