The Ruskinian mantra of “truth to nature” was eventually upended by the development of digital imagery and the agile manipulations of Photoshop.
The artist knows that beauty, and even the sublime, on their own terms are not enough to cut it in the competitive field of contemporary art.
Rose Marasco’s strong sensibility is always at work, searching for contrasts to capture in her photos.
Back To Fort Scott, a compact, affecting exhibition of meticulously printed black and white photographs, is like a grainy, retro speed bump between the museum’s adjacent galleries.
The photographer and the exhibition both make much of his outsider status and radical departure from the classic, reserved aesthetics of American art photography.
This engaging exhibition features the work of 6 artists who meditate on the demise of the analog film image, exploring celluloid’s “particular visual, material, aural, and even metaphoric characteristics.”
Despite the show’s darkness, “East 100th Street”‘s exploration of Harlem in the ’60s is in many ways a testament to the endurance of love.
What about Bert Stern, the artist? He deserves credit for bringing fashion photography into the modernist moment in the late 1950s and early 1960s.
I, personally, don’t care much about clothes, and was only prevented from turning off to the film by photographer Bill Cunningham’s elemental enthusiasm. It can be tempting to write him off as simple in some way, what with his bright, ready laugh. If so, he’s simple in the best way.
Though unquestionably didactic, Skip Schiel’s images are also haunting glimpses of the perilous nature of life in Gaza. The photographs never feel invasive or forced; they simply capture moments of intimate truth between photographer and subject.