Since 2008, an Epicenter for Art & Photography. Maude Arsenault’s EntangledPeter Mitchell: Early Sunday Morning, Signs & ReasonsGuido Guidi Tra L’ altro, 1976-1981 Seasonal ShiftsFestival Images Vevey Roundup 2020Thomas Manneke’s Mutatio: The Precision of the Single ImageMayumi Hosokura’s New SkinThoughts on Manuel Álvarez Bravo’s Color WorkPiotr Zbierski: Echoes Shades The Ethnography of ShadowsCharlie Engman: MOMGerry Johansson’s Meloni MeloniOuttakes from a Film and a Record I Can’t Play: Rita Lino’s How to Become NothingHans-Christian Schink’s Slowness as Method in HinterlandZak Dimitrov Interview With Lucy SoutterSamuel Fosso Autoportrait SIX SIX SIXArnaud Montagard: The Road, The Diner and the Drink on the TableMarina Caneve: Are They Rocks or Clouds?Stephen Shore: Transparencies VS. American Surfaces 2020Sophie Calle – Because Interview Highlights. ‘This Is Where I’m From’: An interview with JH Engström by Catherine AnyangoAn Interview with Thomas Sauvin: On Smoker’s Ettiquette and the Right to NitrateA Short Interview with Saul Leiter (2013)A Conversation with Pieter Hugo – Xenophobia, Self-Censorship and the Commodity of ‘Blackness’Francis Bacon – Photographs, Painting, Destructive Criticism and MoreJH Engstrom Talks Photography, Transformation and Love for ParisGritty 1980’s NYC and the Glorious Intuition of Richard SandlerBarbara Kruger Interview on Race, Stereotypes, Public Art and Interviews (1991) Popular Articles. Walker Evans’s ‘Counter-Aesthetic’ (2003)America’s Most Prominent Locus of Stupidity (Florida) – Paul Kwiatkowski ‘And Every Day Was Overcast’ (2013)HELEN LEVITT: “COLOR” (1971-1981)Daido Moriyama: Investigations of a Dog (1999)One Life – Several Landscapes: An Appreciation of Robert Adams (1996)Interview of Lise Sarfati by François Adragna (2012)You’ve Got to Walk That Lonesome Valley – Katy Grannan’s “The Ninety Nine and The Nine”An Interview with Emmet Gowin (1998)Leaving Home, Coming Home – A Portrait of Robert Frank (2005)GARRY WINOGRAND: “WOMEN ARE BEAUTIFUL”Todd Hido and the ‘Art of Darkness’ (2006)An Interview with Eugene Richards: ‘Cocaine True, Cocaine Blue’ (1995) All Interviews Gallery Features. Mike Brodie: “Tones of Dirt and Bone”Stanley Kubrick’s Photographs of 1940’s NYCGARRY WINOGRAND: “WOMEN ARE BEAUTIFUL”Vivan Maier: Chicago’s Street PhotographerSaul Leiter’s Color Street Photography – The Palette of NYCRaymond Pettibon: “I Don’t Love You Anymore” Street Photography Highlights. Peter Mitchell: Early Sunday Morning, Signs & ReasonsThoughts on Manuel Álvarez Bravo’s Color WorkStephen Shore: Transparencies VS. American Surfaces 2020Gordon Parks: The Atmosphere of Crime, 1957/2020MoMA Press Release: Garry Winogrand (1988)KEIZO KITAJIMA: “NEW YORK”A Short Interview with Saul Leiter (2013)Mark Cohen’s ‘Grim Street’ – the Bang of the Flash and the Crop of the HeadGritty 1980’s NYC and the Glorious Intuition of Richard SandlerGARRY WINOGRAND: “WOMEN ARE BEAUTIFUL”ASX.TV: Mark Cohen – “Photographer” (1982)Joel Meyerowitz – “Photographer” (1982) Essay Highlights. Andreas Gursky and ‘The Iron Cage of Boredom’Thomas Ruff: Aesthetic of the PixelNotes on Five Key Jean-Michel Basquiat WorksJean-Michel Basquiat and “The Art of (Dis)Empowerment” (2000)The Animals and Their Keepers: Garry Winogrand and Photography After September 11thDiane Arbus MoMA Exhibition Wall Label Text (1972) Review Highlights. Xiaopeng Yuan: The Liminality of Capitalist AnxietyWilliam Klein’s Tokyo PopWhere You Weren’t When We Were: SMILERWe Continue On Blithely With Our Own Economic Flagellation (2014)Walter Keller: Beruf: Verleger. A TributeVincent Ferrané: Iconography XXV Figures of Jeanne DamasUte and Werner Mahler: Kleinstadt Keep and KinUrsula Schulz-Dornburg: Yerevan 1996/1997Understanding Guido Guidi: In Veneto and LunarioUdo Hesse: Tagesvisum Ost-BerlinTorbjørn Rødland’s Confabulations! Sweet Box Cutter ButterTorbjørn Rødland: ‘Sasquatch Century’ – Pathology of a Sacred Striptease
