All in Culture
‘Knife + Heart’ is a romance sliced up in a gritty synth pop slasher. I shielded my eyes, I chuckled, and I wiped away tears. Sometimes, it’s true what Nazareth sang, “love is like a flame, it burns you when it’s hot.”
As talented as George Rodger was as a photojournalist of WWII, his collection Southern Sudan is very problematic. The hamartia of ethnographic photography is that of dehumanizing fascination. It is condescending towards the native subjects, as if they are inexplicably mysterious creatures who refuse to assimilate to Western standards of modernity.
In remembrance of Stonewall’s upcoming 50th Anniversary, Art after Stonewall, 1969 - 1989 serves up a delightful celebration hand-in-hand with skillful education. The sheer weight of LGBT artwork that was created in the twenty years following Stonewall is immeasurable, yet this photo book tenaciously delves into an ocean of LGBT works
On the evening of March 5th, at the Koenig & Clinton Gallery, American Artist and Terence Trouillot convened in an open conversation with a listening audience, discussing American Artist’s most recent exhibition “I’m Blue (If I Was █████ I Would Die)” to kick off the second day of NADA programs.
Photographed by Ed Kashi, Gary Knight, Danny Wilcox Frazier, and Ron Haviv, the lives of these people are put on display. The book MVP captures the realities of the lives of the men, women, and children in the struggling areas of the African continent.
As a timeline for the progression of photography, the myriad work on view in the collection Aperture Photographs is a display on the talent of visual storytelling that provides a platform, as well as gallery representation, for artists and photographers alike.
When Kendall Jenner spoke out about her anxiety, the headlines rushed to applaud her “courage.” Yet to receive proper therapy and continuous treatment is a privilege. However, in the state of Illinois, a $113 million cut in funding for mental health facilities doomed the highly dependent patients to imprisonment. In Lili Kobielski’s I Refuse for the Devil to Take My Soul, we turn to Cook County Jail, a place that currently houses at least 8,000 members of Chicago’s mentally ill population.
The conversation on revealing versus concealing in the photographic representation of the Self is the same as taking selfies in infinity mirrors—infinitely reflected but none corporeal. There is an underlying equivocation between representation and distortion. This dynamic is taken up by experimental photographer Janice Guy. In her first solo exhibition Foot in the Mouth of Art , her years-worth of unearthed works are a commentary on, or scrutiny of, the photographic portrayal of femininity, anonymity, and sexuality.