Photography

Anderson Zaca: Fire Island Invasion by Anderson Zaca (By (photographer)); Thom (Panzi) Hansen (Introduction by) Zaca's black & white pictures capture the joyous spirit of the event from start to finish, and also the effort that goes into it, the camaraderie and the decadence of the day. - Black & White Photography The 'Invasion', rooted in the rebellious spirit of the '70s gay liberation movement, represents a unique fusion of rebellion, glamour, and defiance of societal norms. Invasion of the Pines is an annual event that takes place on July 4th in Fire Island, New York. The inaugural invasion took place in 1976 when a drag queen was denied entry into a restaurant in The Pines and a group of her friends, also dressed in drag, stormed the island in protest. Since then, The Invasion has been repeated every year, with hundreds of drag queens descending on The Pines to commemorate and celebrate this original act of protest. Fire Island Invasion: Day of Independence by Anderson Zaca marks the 50th anniversary of this historic and cultural phenomenon. New York-based photographer Anderson Zaca (born 1976) began documenting The Invasion in 2007. Embraced by the community, he has experienced the evolution of this event year after year and honors the magic of this powerful spectacle. Shot using black-and-white film and a medium format camera, Zaca's work combines traditional and contemporary elements, showcasing the intricate details of each scene and capturing the beautifully contradictory nature of the individuals involved. With over three thousand images spanning almost two decades, Zaca's photographs serve as both an archive and a tribute to the transformative power of the art of drag during this iconic annual celebration.

Andrea Morales by Rosamund Garrett; Andrea Morales; John Edwin Mason The first book on Peruvian-American artist Andrea Morales, whose photographs honor her community and their activism in Memphis and the surrounding region. This vibrant catalog showcases a decade's work by Peruvian-American photographer Andrea Morales (b. 1984), whose camera captures community life and activism in the American South, particularly in her home city of Memphis, Tennessee. It accompanies her first major exhibition at the Memphis Brooks Museum of Art, represents the first scholarly publication on her work, and the first major museum exhibition dedicated to movement journalism. Memphis has long been a place bubbling with social movements. Roll Down Like Water-a nod to Dr. Martin Luther King, Jr.'s iconic last speech in the city-shows Morales's incredible ability to engage with her subjects. From intimate portraits and records of daily life to the documentation of social and environmental movements with local and national resonance, her photography builds a passionate and tender portrait of this unique part of the South. Morales centers her practice on building long-term relationships with the communities she photographs and views this relationship as one of collaboration rather than detached observation. Her approach is informed by movement journalism, which recognizes that journalism, like the camera, is not totally objective. By establishing a human connection between chronicler and people and rooting it in an ethical and rigorous framework, Morales's community-driven visual storytelling reaches beyond historical injustice to capture the liveliness and joy of the communities she photographs. For Memphis and Morales, King's words loom large. Echoing his description of collective liberation as "an inescapable network of mutuality, tied into a single garment of destiny," Morales's captivating images of the South chart new, sustainable paths in photojournalism, while reflecting upon identity, community, and the power of storytelling.

Another online pervert by Souders, Brea "Another Online Pervert derives from a series of conversations between artist Brea Souders and a female online chatbot. These real-time conversations are interspersed with entries from Souders' diary spanning twenty years, unfolding with a surprising and improvisational quality in combination with photographs from Souders' archive. With this personal and provocative book, we are guided through a unique exploration of how a machine and a human can learn from one another and build a shared story from pieces of themselves." --Publisher's website (viewed on February 15, 2023)"

Dark Goddess by Shanta Lee Gander; Emily Bernard (Contribution by); Vicki L. Brennan (Contribution by); Alice Boone (Interviewer); Janie Cohen (Foreword by); Andrea Rosen (Introduction by) What does it mean when an item within a museum talks back? How are the concepts of the trained gaze, the panopticon, and the sacred feminine connected? Artist and writer Shanta Lee Gander probes these questions and more in Dark Goddess: An Exploration of the Sacred Feminine. This book accompanies the exhibition of Gander's photo series of the same name, on view at the Fleming Museum of Art at the University of Vermont from February 8 to December 9, 2022. This innovative exhibition catalogue features essays by University of Vermont professors Dr. Vicki L. Brennan (Department of Religion) and Dr. Emily Bernard (Department of English), alongside interviews with Gander's models for the Dark Goddess series, and original written work inspired by items in the Fleming Museum of Art's collection. Conceived in tandem, the publication and exhibition weave together themes of the human gaze, an artist's self-inquiry, history, ethnography, and an exploration of the duality of sacred and profane.

Evidence by White, James This limited edition artist's book brings together digital collages and manipulated photographs by painter James White based on the celebrated and hugely influential series Evidence by Mike Mandel and Larry Sultan. In Evidence, Sultan and Mandel drew on the archives of more than a hundred US government agencies, finding surreal narrative suggestions in deadpan images that were intended as functional documents, upending and interrogating the documentary natures they espoused. The book has been a continual reference for the grayscale photographic paintings for which James White has become known. In this volume, White pays tribute to Sultan and Mandel's project by further undermining the evidentiary nature of the photographic medium through a process of intervention and painterly gesture which disrupts and reconstitutes the images' mercurial surfaces.

Gauri Gill by Gauri Gill (By (photographer)); Esther Schlicht (Editor); Alexander Keefe (Text by) First major survey exhibition of the multi-layered photographic oeuvre of the Indian artist The artist and photographer Gauri Gill has been examining the everyday life of the rural population outside India's urban centers for over two decades now. Her quiet, concentrated photographs focus the viewer's gaze on barely perceived peripheral areas in Indian society. In an open, dialogical process that eschews documentary conventions, she has dedicated herself to concerns related to survival and self-assertion, identity and belonging, and also to conceptual questions of memory and authorship. The exhibition and book bring together about 200 pieces from Gauri Gill's pivotal series like the long-term project Notes from the Desert. A particular focus is on Gill's collaborative approach and her work with artists from rural regions.

Jin-Me Yoon by Zoë Chan (Editor); Diana Freundl (Editor, Memoir by); Tarah Hogue (Memoir by); Sharon Kahanoff (Memoir by); Susette Min (Memoir by); Anne-Marie St-Jean-Aubre (Memoir by); Ming Tiampo (Memoir by) Jin-me Yoon is an important Canadian lens-based artist who has been working steadily since emerging on Vancouver's contemporary art scene in the 1990s. Produced in tandem with a major exhibition at the Vancouver Art Gallery in 2022, About Time focuses on Yoon's monumental and multifaceted production of the last decade, which typically combines photography, video, performance and installation. About Time focuses primarily on Jin-me Yoon's most recent artistic practice. In these layered works, Yoon continues to address the subject matter of diasporic experience, colonialism, imperialism and militarism, but with a politicized awareness of what it means to live and work as a diasporic artist on land stolen from Indigenous peoples. Characterized by a restrained poetic style, use of slowness and repetition, and sensory use of sound, Yoon's recent corpus is undergirded by a strong environmentalist thrust. Recurring tropes of this mature phase of her work include cinematic tableaux of individuals integrated within the Pacific West Coast's stunning natural landscapes.

Joshua Rashaad Mcfadden by Ward LaCharles (Contribution by); Joshua Rashaad McFadden (Contribution by); Lyle Ashton Harris (Contribution by) A comprehensive survey of the photography of rising and influential Black artist Joshua Rashaad McFadden American artist Joshua Rashaad McFadden (b. 1990) makes photographs that explore and celebrate Black life in the United States. Published in conjunction with his first solo museum exhibition, Joshua Rashaad McFadden: I Believe I'll Run On demonstrates his mastery of a wide range of photographic genres--social documentary, reportage, portraiture, and fine art--and his use of the medium to confront racism and anti-Black violence. Like Black photographers before him, such as Gordon Parks, Roy DeCarava, Carrie Mae Weems, Dawoud Bey, and LaToya Ruby Frazier, McFadden documents the beauty of Black life and illuminates the specificity of Black living in our historical present, including a series of impactful photographs devoted to the Black Lives Matter protests in 2020. Along with a candid conversation between McFadden and artist Lyle Ashton Harris and an essay that traces McFadden's meteoric career, this catalogue offers an overview of and insight into a poignant and deeply personal body of work, asserting McFadden's key role in shaping the art and visual culture of the United States. Published in association with the George Eastman Museum Exhibition Schedule: George Eastman Museum, Rochester, NY (November 5, 2021-June 19, 2022)

Marilyn Minter : elder sex by Minter, Marilyn Originally published for a 2022 New York Times article on "The Joys (and Challenges) of Sex after 70," this photographic series by Marilyn Minter explores the almost unchartered territory of sex late in life. Intimate, fantastically bold, sometimes shocking and very Marilyn Minter in the best way, these photographs cast an uninhibited look at "unconventional" bodies and challenge our traditional and often stereotyped vision of sex. Ultimately, these joyful, empowering and body-positive images remind us that the frontiers of sexuality are unlimited and that we can choose the type of pleasure we want at every stage of our lives.

Onyx by Adrienne Raquel (Photographer) '[a] glimmering monograph, which celebrates the performance and artistry of its dancers.' - Vanity Fair 'This book will serve as a starting point for conversations around the Black female body with Raquel at the forefront of provocative image-making' - Aesthetica 'By focusing on the performers themselves, the series elevates the images from straight reportage to curated and highly intentional... Raquel's captivating imagery portrays the empowerment and inclusivity in strip clubs that society has tended to ignore.'- Creative Review In ONYX, photographer Adrienne Raquel explores the intensity and escapism of the nightclub experience, documenting the power of the performers at Houston's famed Club Onyx. Raquel's photography is usually editorial, with high-power celebrities as her subjects. Her work has broken glass ceilings for Black female photographers. Now, for this passion project commissioned by Fotografiska New York, she has turned her lens towards a community of underrepresented artists in her hometown. At Club Onyx, strippers step on stage displaying their bodies, strength, and seduction, but there's a virtue to this particular space. "They don't get naked" is a common idiom to describe the club's ambiance. Performers there take the word "stripper," and negotiate what that means to them, on their own terms. Raquel captures elements of southern strip culture and the power of these performers with her signature glossy photographic style. From powerful images of the dancers mid-movement to detailed shots and intimate portraits, Raquel's striking images put the divine beauty and compelling energy that enlivens Houston's nightlife on full display. She also takes viewers behind the scenes, giving us a window into the community the dancers have built in the privacy of the locker room. There they prepare for the evening together before moving to the stage, each dancer in her moment. Uniting their star power to conquer one customer at a time, dancers continue into the early morning, performing and collecting bills. ONYX displays the empowerment and inclusivity in strip clubs that society has ignored. As captured by Raquel, the night club experience is revealed with layered meaning - granting the chance for these performers to be seen as elevated as the culture they influence.

Photo Against the Machine by Ann Massal (Editor); Simon Baker (Foreword by) Conversations with a chatbot on legends of contemporary photography Using works from the collection of the Maison Europeenne de la Photographie, Ann Massal (born 1977) engages an artificial intelligence chatbot in a dialogue on photography, asking it about the legacy of photography from the point of view of "the conscience of the world."

Photography and Painting by Aperture Aperture (Editor) How has the relationship between painting and photography evolved since the invention of the latter nearly two centuries ago? This spring, Aperture presents "Photography & Painting," featuring artists from around the world who draw inspiration from both mediums in their work, illuminating how the dialogue between camera and canvas continues to unfold today in fascinating, unexpected ways. Aperture No. 258 is anchored by three in-depth conversations with Njideka Akunyili Crosby, Vija Celmins, and Christopher Wool--three of the most significant painters of their generations. Through different strategies, these artists integrate photographic surfaces into their work, collapsing mediums to find new ways of marking time and space and of expanding our sense of how memories can be represented, from Akunyili Crosby's spellbinding meditations on Nigerian culture incorporating family and found photographs; to Christopher Wool's conceptual images of urban decay, talismanic objects, and his own abstract paintings; to Vija Celmins's painstaking renderings of ocean waves and galaxies. As Celmins tells the photographer Richard Learoyd, "My tools are like hours."  Rather than treat painting and photography as rivals, this issue frames them as sources of mutual inspiration. Brian Dillon examines photographers' abiding fascination with the painter's studio, drawing connections among Luigi Ghirri's pictures of Giorgio Morandi's atelier, Collier Schorr's portraits of Nicole Eisenman, and Sally Mann's tender trespass into Cy Twombly's Virginia workspace. David Campany looks at the surprising resonances between gestural painting and photography in the 1950s, while Lucy Ives reflects on the misunderstood legacy of photorealism, showing how a movement long disparaged by critics continues to exert a powerful influence on younger artists. Elsewhere in the issue, Lynne Tillman rediscovers the photography of Pierre Bonnard, while Jarrett Earnest--looking at recent paintings of Britney Spears, Casablanca stills, and Judy Garland's Dorothy--asks: Why are so many contemporary painters remaking famous images right now? And portfolios by Poppy Jones, Lia Darjes, and Shirana Shahbazi use painterly references to offer meditations on the past that reject nostalgia for more mysterious, unsettled attitudes toward memory.  The cover of Aperture No. 258 features a 2021 work by Kunié Sugiura, whose hybrid, dreamlike forms have tested the limits of photographic expression for nearly six decades. Made of painted color blocks and X-rays of her body as well as those of strangers--transfixed by the X-ray's spectra representations of the human form, she collected them while hospitalized in the 1990s and printed them in her own darkroom--the work is Sugiura's first large-scale grid, and can be configured in various ways. In an essay coinciding with the retrospective of Sugiura's work at the San Francisco Museum of Modern Art, the curator Erin O'Toole traces the artist's career through its trials and triumphs.  "We live in an age of images, an age of too-muchness, including a flood of art," the editors write. "After around two hundred years of coexistence, photography and painting are still talking, still defining each other through an exchange of mark making and an examination of the surfaces around us that sometimes allows for fuller--and slower--experiences."

Shirin Neshat: Land of Dreams by Shirin Neshat (Other); Lucy Lippard (Text by) A multimedia portrait of a fictional woman artist caught between two cultures In her latest body of work, multimedia artist Shirin Neshat (born 1957) turns her focus to the American West. With more than 100 photographs, a two-channel video installation and a feature film, Neshat creates a multilayered look at contemporary America through the eyes of a fictionalized artist. Monumental black-and-white photographs are transformed through Neshat's use of Farsi text and images that have been hand-drawn onto the picture. The texts represent Neshat's interpretation of the dreams of the sitter, with references to ancient myths and ideologies. Neshat works and experiments with photography, video and film, imbuing them with highly poetic and politically charged images and narratives that question issues of power, religion, race, gender and the relationship between the past and present, occident and orient, individual and collective through the lens of her personal experiences as an Iranian woman living in exile.

Still Life: Photographs and Love Stories by Sterlin Kate For decades, photographer Kate Sterlin has made an artistic practice of examining the boundaries between individual, family, and community. In her first book, Still Life: Photographs and Stories, she delivers a meditation on love and its ability to weather the brutal specificities of life, death, family and race in America. Pairing intimate photographs with poetic, lyrical writings, Still Life is a hypnagogic narrative that unfolds in a series of overlapping episodes and identities, a testament to one artist's commitment to creation and a dreamlike blend of the personal and the universal.

Stranger Fruit by Jon Henry; Kris Graves (Editor); Luminosity Lab (Designed by) Stranger Fruit was created in response to the senseless murders of black men across the nation by police violence. Even with smart phones and dash cams recording the actions, more lives get cut short due to unnecessary and excessive violence.Who is next? Me? My brother? My friends? How do we protect these men?Lost in the furor of media coverage, lawsuits and protests is the plight of the mother. Who, regardless of the legal outcome, must carry on without her child.I set out to photograph mothers with their sons in their environment, reenacting what it must feel like to endure this pain. The mothers in the photographs have not lost their sons, but understand the reality, that this could happen to their family. The mother is also photographed in isolation, reflecting on the absence. When the trials are over, the protesters have gone home and the news cameras gone, it is the mother left. Left to mourn, to survive.The title of the project is a reference to the song "Strange Fruit." Instead of black bodies hanging from the Poplar Tree, these fruits of our families, our communities, are being killed in the street.

Suwon Lee: Mr. and Mrs by Suwon Lee (By (photographer)); Horacio Fernández (Text by) Made to honor her grandparents, Lee's innovative photobook is a paean to family history and the allure of vernacular photography In rescuing photographs inherited from her paternal grandparents, Suwon Lee (born 1977) traces two lives, from youth to adulthood, in 20th-century Korea. This two-sided book functions as both a family heirloom and a shrine to the art of vernacular photography. This book was published in conjunction with Goma Editora

The Synthetic Eye by Fred Ritchin An essential investigation into the murky ethics of AI, one that calls into question the future of photography. Artificial Intelligence is driving a fourth industrial revolution and, as The Synthetic Eye shows, the centre will not hold. How can we believe or trust the images we are being shown? What role do photographers, the media and technology companies have in upholding the authenticity of photographs? Can synthetic imagery be utilized to enhance our understanding of our world? A revelatory roadmap of today's image universe, The Synthetic Eye explores how Artificial Intelligence has fundamentally transformed our sense of the real, the possible and the actual. Arranged into seven distinct chapters, it interrogates AI's engagement with history, how it has changed our understanding of reality, and the positive opportunities and dystopian scenarios that lurk beneath the surface of artificially generated images.