Keeping The Balance on Mother’s Day

Instead of opening the pages of your latest issue of Vogue to a yet another flawless taut body or opening your Instagram to whatever else is “hip” today, in honor of Mother’s Day, you may want to take a look at these hips instead. They may be a little wider than you’re used to, and the plain black panties and frumpy black bra resting above them is no advent in high fashion. The subject’s tummy is also a bit more ample than our advertised “average”, and crinkles towards its dark belly button center.

Rachel Lee Hovnanian : The Women's Trilogy Project

As women, possessions, gender roles, stereotypes drive us to actions and limitations that are artificial rather than real. By producing work under a male pseudonym, I believe I have overcome the preconceptions of work being created by female artists. For me the gender is irrelevant in terms of my ability to create this work.

CAREY YOUNG: The Peeping Tom

Almost all the courtroom doors at the Palais de Justice in Brussels contain circular windows, through which one can view the trials in progress. This design expresses the idea of fairness in legal trials, it indicates that there is a transparency to the process. In order to create my video piece Palais de Justice (2017), I shot a lot of footage of trials in progress through these windows. 

Rachel Molina on "Seen But Not Heard", Her Look Into The Transition from Childhood to Adolescence

There’s one particular boy, Shay, who had a hard time at school with his learning and with his friendship group. He was really into art and design and textiles, and I remember after I met him, as I was leaving after photographing him, just hoping that when he got into secondary school, a teacher was going to look after him and make sure he excelled at the things he loved. That really stayed with me; I go back to the idea of their want to learn. That’s really it. They actually do really want to learn. They want it to be exciting, and they are wanting these new experiences.

Elle Verhagen and Carmen Freudenthal: "To recognize the same urge in the other is special and stimulating"

“It's not only the similarities that make the working together easier. It's also the differences. We each have our own qualities, and over the years they became more clear. Now we are able to divide the roles, and therefore have more time to perform. These differences are also our strengths as a duo. We respect them, thus making it easier to give in in case of possible disagreements.”


ANDREA BLANCH: I know that your family owns pharmascience and your mother started this collection, but how did you get engaged with it?

DEBORAH GOODMAN DAVIS: I’ve had three careers in my life. First, I was an art historian. Right out of school I was a museum curator working at the Art Institute of Chicago and the Yale University Art Gallery. I was working in European paintings; I did my master’s degree in post-impressionism.

Street Photographer Pau Buscató: "This demands being fully aware of what's going on around you"

The world as it is is already strange and zany enough. I think I'm just bored of the conventional view of reality, where we give everything for granted: a tree is a tree and that cloud is just a cloud. But what if the cloud and the tree could become something else, when viewed from a different angle or put together in a frame? When I said that I'm not documenting the world, I meant that I'm not interested in showing the obvious view of things. I'm more interested in the 'far side of the moon', if you know what I mean.

Terri Loewenthal explores "the intersection of landscape and psyche" in Psychscapes: "Who would I be in that place?"

In a way, our impression of ourselves is the most unmediated experience we have. And yet, it is wholly ephemeral. Our connection to physical places gives us a starting point for the exploration of our psyches. Because we define ourselves based on the experiences we’ve already had, we gravitate towards the familiar. Psychscapes utilize elements of actual landscapes, so they offer a comfortable first step into the unknown. 

Feature: Deborah Roberts

Well, you know I have this idea that when people see people of color, especially black people, they don’t see them as a whole person. Sometimes they see them as a partial person or one person. I wanted to express that we are different in skin tone and facial features, things like that. So that’s what’s important about the collage work. I used to paint faces and images, which I felt portrayed black people, but those weren’t the images I was seeing portrayed in the news, magazines, and on TV. There was a big discrepancy and I thought, how can I best speak to that in my work? So collage has been a perfect vehicle.

VIDEO: CAMERALESS/LENSLESS: Vanessa Albury's Cyanotypes

In a world oversaturated by digital imagery, Albury returns to one of the medium's earliest practices; she inverts traditional methods of photographic image making to instead show the viewer the deconstructed process of photography itself. Photography is light, and Albury's images in the Cameraless, Lensless series find themselves at the very heart of this remarkable medium.