Features

A column of special features and reports by contemporary photographic writers and critics. Contains special conversations, reviews, essays, profiles, and more.

Those are real places where it all occurred, real objects and real notes exchanged by the lovers. “Tornaras”, in a sense, are photographs that take the form of a long and intimate letter to someone’s memory…

I began #InHonor as a personal response to the killings of Black people across America. To be completely honest the work was born out of guilt. All of my friends had rallied up in arms to march for Trayvon Martin and Eric Garner. I, on the other hand, was nowhere to be found. I felt guilty.

In Foglia’s work, the environment is not just a setting for a story to take place – a field of characterizing details – but an essential subject of the story itself in the photographer’s quest to reveal the complicated relationship we have with a natural world. Lucas was kind enough to answer some questions about his practice.

Everything is Collective is a trio of artists, Aaron Hegert, Zachary Norman, and Jason Lukas, who together create collaborative images, books, and exhibitions. The pillar of their practice is an ongoing self-published book series, Deliberate Operations, which presents collections of images that are ping-ponged back and forth between the three to create shared theoretical and visual responses to a range of issues within the context of digital experience.

The boldest, most challenging, and most socially relevant works at the fair were all produced by women. It was refreshing to see that contemporary dealers are closing the gap of representation equality, and that talent is surpassing maleness as the definitive criteria for contemporary gallery rosters.

For nearly five years, Peruvian-born, Seattle-based artist Rafael Soldi has transformed loss and uncertainty into a profound, sometimes abstract photography series Life Stand Still Here. It branched from an earlier project based on a sudden breakup and evolved into a murky succession of images that connect Soldi’s deeply personal moments with grander, more universal struggles. Using a range of techniques including still life, abstraction, and a large-scale grid of photobooth portraits, Soldi asks viewers to consider the connection between his experiences and their own. 

I first encountered Paul Mpagi Sepuya’s work when I walked into his 2017 solo exhibition at Yancey Richardson Gallery in New York City.  I didn’t so much view his pictures as I did stare at them, trying to reconcile the spatial constructions, to untangle the delicate knots of reference and self-reference, seeking to decode anonymous flesh of male forms, and trying to figure out where any given picture starts or ends;

On November 7, 2017, South Korean President Moon Jae-in extended a “heartfelt welcome” towards US President Donald Trump as he arrived in South Korea for a two-day summit to reaffirm the Korea-US alliance. However, his stay did not pass without criticism. Labeling the US president a warmonger, the “No Trump Joint Action Task Force” organized rallies against his visit. Made up of 220 left-wing political parties, civic groups, labor unions and student groups, the association claimed his impulsive remarks towards North Korea heightened military tensions on the peninsula.