Posts from the ‘Magazine 2013’ Category
Jonathan Griffin visits photographer John Divola in advance of three simultaneous retrospectives.
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What is photographic education today? The question elicits a wave of differing, often contesting answers.
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Penelope Umbrico speaks with art historian and intellectual-property lawyer Virginia Rutledge about the use of reproductions in our increasingly flattened image world.
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Over 300 guests in photography, art, fashion, media, and music gathered to celebrate the relaunch of Aperture magazine.
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Jeff Wall’s photographic work made over four decades has opened up the parameters of the medium to issues long understood to be outside its provenance. At the same time, his prolific writing has been an important factor in the development of a much-needed critical vocabulary. Wall’s contributions in both arenas provide conceptual underpinnings for contemporary artists. He requires photography to do the work of reflecting not only the world, but also the terms of that engagement. And his explicit relationships to both painting and film have opened new paths of understanding photography’s possibilities and place in the world. Wall makes…
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It’s been a year now since I drove from Scranton, Pennsylvania, to San Francisco and let the air out of the tires. My wife was given a yearlong fellowship here to work for an idealistic nonprofit that creates new technology for city governments. I tagged along, excited to wander the same streets as Henry Wessel. We arrived in October—still summer in San Francisco—to a warm reception. Frish Brandt from the Fraenkel Gallery, Joseph del Pesco from the Kadist Art Foundation, and Chris McCall from Pier 24 introduced themselves as the welcoming committee. On week two, I received an invitation from…
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Andrew Norman Wilson speaks with curator Laurel Ptak about the ScanOps project, which examines the systems, people, and processes behind Google Books.
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Contemporary art photographers are opening up new ways of thinking about the medium. Are institutions ready for this wave of photographic innovation? It has been nine years since I wrote The Photograph as Contemporary Art (Thames & Hudson, 2004), my survey of photographic practice over the previous five years. The slow and cumulative battle to validate photography as contemporary art had long been won by the time we went to print. The market for photography as art—at the time this almost invariably meant Lightjet color prints laminated behind sheets of Plexiglas, at least 30 by 40 inches in size—was buoyant….
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