An exhibition at the Georgia Museum of Art examines the career of Doris Ulmann, from New York portrait studio to the byways of Appalachia
Mexico’s surrealist painters and writers are well-known; perhaps less familiar are its surrealist photographers.
Not an Ostrich: And Other Images from America’s Library, on view this summer at the Annenberg Space for Photography in Los Angeles
Peter Aaron’s photographs preserve the majesty of Levantine sites damaged and destroyed in the ongoing conflict
Clarence H. White, one of the pioneers of the pictorialist style in photography, is having his first retrospective in more than a generation, a traveling show now on view at the Davis Museum at Wellesley College.
A body of work that has received scant attention from collectors is on view this spring at the National Gallery of Art.
An adventurous photographer and a Midwestern librarian—trailblazers both.
The subject of a new exhibition at the Palmer Museum of Art at Penn State University, the photographer Eva Watson-Schütze (1867–1935) was a leading member of the Photo-Secession, the early twentieth-century movement founded by Alfred Stieglitz that sought to elevate photography to the status of fine art.
Every photographic portrait confers on its subject some degree of immortality. We take for granted the ability to know what a person looks like, since images of family, friends, and famous strangers dead and alive are at our fingertips through a Google Images or Facebook search. But until 1839 only the wealthy could have a likeness recorded, share it with others, and leave it behind for future generations.
For almost twenty years Sherman Cahal has traveled the Middle West and Appalachia, photographing residential, industrial, and commercial buildings that exist in various states of disrepair and decay, creating a visual record that is, of course, sad, but that also invokes the peculiar appeal of old, worn things.