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The Final Image (1994)

I sat there in the respectful silence one reserves for historic moments marking major cultural change. So much for all our agonizing debates over the ethics of electronic image alteration in photojournalism, our ponderous ruminations about whether the editors at National Geographic should have moved those damn pyramids closer together. Vox pop had spoken, and its answer was: Go for it. […]

New Japanese Photography (1974)

Much as I might wish it were otherwise, in considering the Museum of Modern Art’s latest photography exhibit and catalogue New Japanese Photography it proves impossible to discuss the photographs themselves without simultaneously analyzing the show and book. […]

Martha Madigan (1950-2022): A Farewell (2)

Those core issues — the brevity of life, the spiral of time, the constancy of change, the cyclic aspects of history and human experience, and the enduring, unbreakable connection between humans and the natural world — weave constantly through Martha Madigan’s commentary on her own work and working method, and make themselves apparent in the work itself. […]

Martha Madigan (1950-2022): A Farewell (1)

Martha Madigan has worked almost exclusively with the photogram for the past three decades, patiently building up an extensive, interconnected body of work that has evolved into one of the most coherent and durable considerations of the photogram in the medium’s history. […]

Misha Gordin: Reflex of Freedom (2007)

Gordin refers to his approach as “conceptual photography,” though by this he obviously means something much different from the haphazardly made, often amateurish or deliberately casual imagery generated as documentation of performances by conceptual artists since the 1970s. Carefully planned and meticulously crafted, Gordin’s images are previsualized as sketches on paper, which he then stages for the production of the negatives necessary to actualize the imagined image. […]