“New Photo?” I overheard somebody say about the FotoFest show of the same name. “A lot of those pieces were, like, 10 years old.” The uninformed indignation of this charge…
Author
Chas Bowie
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Given the art world’s general indifference to documentary photography, FotoFest‘s devotion of the gigantic exhibition space at Winter Street Studios to just three Chinese documentary photographers seemed like a dubious…
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Ethnography, Photojournalism and Propaganda, 1934-1975 This is the first of three essays devoted to FotoFest’s current biennial program, Photography from China, 1934-2008. Next week’s article will examine the Independent Documentary…
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Pretend aliens have landed on Earth. Document their presence. Look for clues. What ceases to be suspect? Can you be sure? Convince me.
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For the first time since 1994, FotoFest returned to a thematic organization of its biennial citywide “festival” of photography. Previous themes have included Fashion, Contemporary Latin American Work, and The…
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All the adjectives commonly applied to Larry Clark’s Tulsa — grim, disturbing, honest, visceral, and, most frequently, raw — are no less applicable today than they were when the images…
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The New York-based Brazilian artist Vik Muniz rose to international fame by poignantly and thoroughly manipulating the ways in which we perceive visual information. His photographs of impeccably crafted, illusionistic…
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The world premiere of Claude Wampler’s new film, Ambulance, was a disaster from the outset. The main DiverseWorks gallery featured two film projectors facing the east/west walls, and a octagonal…
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“Transcendence” — it’s one of those slippery words concerning our spirits whose meaning has become as bastardized and lost on us as its cousins ‘sublime” (“The cheesecake at Barnaby’s is…