A striking exhibition in Paris revisits the treasures and dreams hidden beneath the German artist’s unorthodox photographs.
In the 1970s, Deborah Turbeville eschewed highly-sexualized photographs in favor of haunting portraits.
A review of PCR, Wolfgang Tillmans’ first exhibition with David Zwirner Gallery, by Gabriel H. Sanchez.
Diana C. Stoll reviews Ken Abbott’s new exhibition at the Asheville Art Museum, North Carolina, which focuses on the day-to-day of a prominent local farm.
On Josef Astor’s recent exhibition at Participant Inc., New York, which connects photography, installation, and dance.
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.
Designer Rob Giampietro assesses the legacy of ECM Records, which was recently surveyed in an exhibition at the Haus der Kunst, Munich, and its related catalog.
Critic Noemi Smolik reviews the recent exhibition Dear Aby Warburg, What Can Be Done with Images?
Aperture’s fall issue, “Arrhythmic Mythic Ra,” refracts themes of family, social history, and the astrophysical through the eyes of guest editor Deana Lawson, one of the most compelling photographers working today.
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?