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Daniel Blight reflects on Sarah Jones’s recent solo show.
Madeline Coleman on Finding Vivian Maier, a new documentary opening in U.S. theaters on Friday, March 28, 2014.
Mary Panzer reviews the Charles Marville exhibition, on view at the Metropolitan Museum of Art until May 4, 2014.
Isabel Stevens on Whitechapel Gallery’s retrospective exhibition of Dadaist artist Hannah Höch, on view through March 23, 2014.
Bronwyn Law-Viljoen on the fourth iteration of the Nigeria-based international photography festival, LagosPhoto 2013.
Isabel Stevens reviews Still: American Silent Motion Picture Photography, David S. Shields’s survey of American photography from cinema’s silent era.
On the occasion of a traveling exhibition, Diana Stoll meditates on Man Ray’s portraits.
Sarah James ponders the Mass Observation project, now surveyed at Photographers’ Gallery in London.
Prajna Desai reviews the Abelardo Morell retrospective now on view at the Art Institute of Chicago.
Joanna Fiduccia considers the uses of aerial photography in her review of Jeanne Haffner’s The View from Above.
Chris Wiley reviews A Different Kind of Order, the fourth ICP Triennial, on view in New York through September 22.
Susie Linfield reviews Memory of Fire, a new collection of essays and interviews edited by Julian Stallabrass. Updated July 24 with an exchange of letters between the authors.
Schuyler Duffy reviews Terry Evans’s exhibition The Inhabited Prairie, now on view in New York.
Sarah James reviews a survey of Karl Blossfeldt’s photographs at the Whitechapel Gallery, London.
Tampering with photographs is common practice for artists today; this exhibition demonstrated that the strategy is even more relevant for Middle Eastern photographers.
Willie Doherty’s latest body of work focuses on the sense of alienation to be found in Zurich’s peripheral spaces. Martin Jaeggi assesses the photographs and video.
Prajna Desai reviews A Village in Bengal, an exhibition of Chirodeep Chaudhuri’s photographs at Project 88, Mumbai.
Critic Noemi Smolik reviews the recent exhibition Dear Aby Warburg, What Can Be Done with Images?
Aperture’s issue on craft features photographers who make pictures the slow way—building camera obscuras, creating photograms, and laboring in traditional darkrooms to make handmade, unrepeatable forms.
Dear Aby Warburg, What Can Be Done with Images?
Critic Noemi Smolik reviews the recent exhibition Dear Aby Warburg, What Can Be Done with Images?