New Ways of Understanding Visual Culture: Pop Photographica

Some readers of this essay might not immediately recognize the name Daile Kaplan, whom I interviewed via email for this article. But those same readers might very likely recognize her face and voice: Kaplan has been for eighteen years the photography expert on PBS’ television program “Antiques Roadshow.” She is always precise and articulate, her … Continued

Framing and Re-Framing:

Sherwin Rivera Tibayan lives and works in Austin, Texas. His practice merges photography (or more commonly, notions of photography) with conceptual art. Tibayan’s projects focus on such works as Jeff Wall’s commonly-cited essay “Marks of Indifference,” and Robert Frank’s book, The Americans—the latter through an examination of the histogram data of each work presented in Frank’s … Continued

The Photographer’s Lament:

Alison Rossiter is well known for her conceptual work using expired photographic papers. Her photographs are in the collections of major public institutions including the Art Institute of Chicago; the Philadelphia Museum of Art; the Minneapolis Institute of the Arts; the Museum of Fine Arts, Houston; the Milwaukee Art Museum; the Museum of Contemporary Photography, … Continued

The Heaviness of Memory: Unpacking Personal Archives

In September and October of 2016, Klea McKenna and Trent Davis Bailey met at McKenna’s studio in the newly developed Minnesota Street Project in San Francisco. While conversing about their work as artists, they reminisced about their separate upbringings in the American West, and their mutually unfolding influences of kin, environment, and archive. McKenna first … Continued

The Intimacies of the Image:

Photographer Naima Green is an artist whose images I return to often. They are potent. They are vulnerable. As a viewer, I want to stay with them, linger a little while longer. Naima and I have known one another for about two years now, and in many ways, the conversation that follows is an extension … Continued

A Handful of Dust:

Stanley Wolukau-Wanambwa (SWW): So your latest book retraces the history of photographic modernism and the transformation of modern life from roughly 1920 to 2015, and it does so by way of a photograph that eventually came to be known as “Dust Breeding.” How did you arrive at this point of departure? David Campany (DC): I feel … Continued