Back in the dog days of mid-August, 36-year-old Vanessa Campos was murdered in Paris’ Bois de Boulogne park. Her death came a year-and-a-half after the French parliament government passed a law designed to both stem prostitution and protect its practitioners - among whose ranks Campos counted herself. A transgender woman from Peru, she was shot by thieves taking advantage of her and her john’s vulnerability in an isolated corner of the park, widely known as one of Paris’ major bazaars of prostitution.
The phrase “Digital anthropology” could best describe the new Whitney Exhibit Programmed: Rules, Codes, and Choreographies in Art, 1965–2018. As we get a glimpse of our history and how the advances in technology, systematic thinking and computing code have transformed the way we perceive the world, what will the digital remains of our civilization look like? Will we be remembered for our Twitter feed discourse on reality shows, the way we programmed ourselves into the computer or our voyeuristic tendencies to huddle around the television set like a fire-place?
Besides all of its obvious firsts, World War One also saw the rise of war photojournalism. Of course, the presence of cameras on the battlefield had gone back to the American Civil War, but the cameras of these eras were too cumbersome, too delicate, and too slow to be operated in the middle of an actual conflict. Because of these limitations, most of the photos from the war focused on the aftermath of the battles; corpses posed amongst debris in an attempt to recreate the violence that had just occurred.
Why porcelain dolls?
MK: Primarily, they are breakable and affordable. I was searching for something that you can easily drop from the height of 4 meters in my studio and would smash great on the floor, creating a massive and complex event.
I could control the camera by a noise trigger, so effectively, I only had to let them fall in the right position to trigger the camera and do the shot.
Steve Miller: In your last show at Petzel, I was struck by the variety of your approach and your asking questions about the nature of our collective moment in time. I see your work implying movement, being in motion and physically moving through the world. The most obvious example is your FedEx works (2007– ) where the shipping of the work and its arrival at the final destination creates the image. You have talked about the corporate ownership of a space, the space of the shipping box, and the movement of the work through time is a fascinating twist for me on an intentional readymade. But you've got kind of two dialogues going on here. How did these two worlds, corporate and aesthetic, embrace?
Danny Lyon has been on the cusp of documentary photography and video since the Civil Rights Movement, and in Wanderer he again employs the medium to expose prevalent racism and xenophobia in America.
The YouTube community has been in a whirlwind over the ongoing eight-part documentary series by YouTube star Shane Dawson since the beginning of its release two weeks ago. Dawson’s video series, titled “The Mind of Jake Paul,” is asking the controversial question: is YouTube-sensation Jake Paul a sociopath?
When I set off on a solo trip to Mongolia, I had no idea what to expect. I just knew I had to go - to photograph the reindeer herders way up north by Siberia. Suddenly I found myself climbing slippery mountains on horseback during sleet storms for hours on end, sleeping in smoky teepees with large families and eating bowls of sheep innards. It was worth every minute.
“He looks weird.” My 8 year old nephew tells me as he looks at an image on my laptop of a transgender man from Lorenzo Triburgo’s “Transportraits” series. At this point my response is instinctual, “What makes you say that?”. With a sigh of relief, my nephew tells me that he was only speaking about the model’s tattoos and the vibrant painted backdrop, not objecting to the very existence of transgender man. But most of the time, these reasons aren’t so benign.
Can a woman be an artist and a muse? This was the kind of uphill battle of rhetoric female Surrealists like Leonor Fini encountered in their quest to broaden portrayals of gender, identity, and sexuality in art. Leonor Fini was a pioneer for her efforts to invert the traditional Muse, in which she domesticated her male subjects in more feminine depictions and, in doing so, empowered her female subjects through mythical creatures and folklore, such as her use of the Sphinx. Much of Fini’s art, as with other artistic movements of her era, was a reaction to the horror and inhumanity experienced in the wake of the Second World War.
Fifth avenue on Thursday night somehow contained a rambunctious crowd of protesters. Women of all generations- mothers, daughters, sisters, gathered to acknowledge (among some things) the prevalence of undocumented sexual assault in American, to condemn Supreme Court nominee Brett Kavanaugh, Donald Trump, and the FBI for not demonstrating proper investigation procedures.
In his latest show at David Zwirner Gallery, Wolfgang Tillmans’ considers the role of photography in a “post truth” world, and explores issues intrinsic to the medium by creating seemingly careless art that does not present any conclusions or “truths”. “I love that art is useless and that it has no purpose,” Tillmans said in a New York Times interview. “That makes art so incredibly powerful. And so, I don’t think one should turn to artists instantly and ask, ‘What are they saying?’”