Nearby Café Home > Art & Photography > Photocritic International

Get new posts by email:
Follow me on Mastodon: @adcoleman@hcommons.social     Mastodon logo

Cindy Sherman at MoMA, 1997

[Toward the tail end of my decade as the photography critic for the New York Observer I had the opportunity to review the Museum of Modern Art’s celebration of Cindy Sherman’s “Untitled Film Stills” series, a complete set of which they had recently acquired and were showing for the first time, in an exhibition sponsored […]

In Memoriam: Liu Xiaobo

Chinese poet, dissident, and 2010 Nobel Peace Prize recipient Liu Xiaobo died of acute liver cancer on Thursday, July 13, 2017 while in police custody. Liu Xiaobo’s wife, the noted poet and photographer Liu Xia, has been under extralegal house arrest since Liu Xiaobo received the Nobel prize. Liu Xia’s whereabouts are currently unknown. With her husband now dead, she has become de facto the most internationally recognized symbol of opposition to the oligarchy that rules mainland China. […]

Net Neutrality Day

The FCC, under the leadership of Trump-appointee Ajit Pai, wants to destroy net neutrality and give big cable companies control over what we see and do online. If they get their way, by reversing Obama-era rules that govern Internet access, they’ll allow widespread throttling, blocking, censorship, and extra fees. On July 12th, the Internet will come together to stop them. Click here to join the protest. […]

Ends and Odds Again and Again

Given that the Museum of Modern Art has studiously ignored me and my critique of its policies and practices for most of the past half-century, I’ve found it both surprising and charming to have my name and work crop up in two separate MoMA projects over the past year. […]

New Documents, Revisited (b)

Collectively, Arbus, Friedlander, and Winogrand revised the ways in which photographers used their cameras, which changed the look of the resulting photographs, and that they made the photographer’s participatory role in the photographic event a foregrounded given, which transformed both the behavior of photographers and the way we interpret their work. […]