Blog

'Time puts its stamp on everything': Eileen Myles on Moyra Davey & Peter Hujar
'Time puts its stamp on everything': Eileen Myles on Moyra Davey & Peter Hujar
Steve died. He was huge. He was 50 and lived in the apartment downstairs right by the front door. His Yankees sticker is still there. He went into the hospital on March 2nd and died on March 22. Anna at the laundromat told me. Anna’s quite bent, deep into her 80s. I remember her in her 50s a mean and vivid woman. She got older the place is filthy many of the machines are broken but it’s on the corner and I’m weirdly loyal to it. Steve worked there usually standing outside and I think he delivered bags for Anna. He helped me lug things upstairs too. Years earlier he lived right next door to me with a crowd of people. I remember when he was a little boy and he was thrown butt naked into the hall as a joke. I was coming up the stairs and he was desperately pounding on the door.
Downtowns and ghost towns: Helen Epstein on 'Steel Town' by Stephen Shore
Downtowns and ghost towns: Helen Epstein on 'Steel Town' by Stephen Shore
Americans born in the two decades following World War II grew up in an atmosphere of prosperity and hope. Between 1945 and 1970, US production of goods and services quadrupled, and much of the country began to take its modern form, with highways, motels and office buildings. By 1971, virtually every American household had a refrigerator, a washing machine, a TV and a vacuum cleaner and one in three had more than one car. Sure, there were problems, but wages, especially for manual workers, were rising, some of the worst legal barriers to racial equality were gradually being dismantled and, at least at first, the futile horrors of Vietnam were not widely known.
'A stare, a glare, an inquiring dare': Greg Tate on Dawoud Bey's 'Street Portraits'
'A stare, a glare, an inquiring dare': Greg Tate on Dawoud Bey's 'Street Portraits'

Dawoud Bey represents the first generation of young Black photographers radicalized by the Black Arts Movement to also fall under the hypnotic sway of DeCarava’s work and then forge their own paths to lensing the everyday beauty of the Black community. By the post-revolutionary 1970s there was no miracle or challenge for this generation of artists in seeing the iconographic faces of the Black community as works of art. Instead they faced the test of making art equal to the proliferation of the diverse beauty in the community’s DNA.
Moyra Davey: My Favourite Books
Moyra Davey: My Favourite Books

Sometime in early 2019 Kim Bourus invited me to her gallery, Higher Pictures, in Manhattan, to show me a book by Susan Lipper titled Grapevine, a classic I’d never laid eyes on, and Kim had a hunch it was my kind of book. Photographed in stark black and white with a flash-mounted Hasselblad, Grapevine chronicles scenes from daily life in a small, rural enclave in West Virginia.
Familiar rituals: Collier Schorr on 'Paul's Book'
Familiar rituals: Collier Schorr on 'Paul's Book'
Because Paul Hameline is an artist and a professional model, he isn’t quite naive. So he can be stoned, but he doesn’t really fit the description of the stoner. He is a partner in the room, often times steering the ship, because he is interested in how his image fits with all the images that have come before him. And I am thinking about the same thing. The raw materials, skin, carpet, foreskin, thin poster paper, ashes, a phone. I’m in the room with the subject of this history and when I’m not collaborating like this, I am steering the ship, but in this case we are both wondering what it’s like to be more naive (on his part) and more (parasitical/perverse) on my part.
The road less travelled: Irina Zucca Alessandrelli on Guido Guidi's 'In Sardegna'
The road less travelled: Irina Zucca Alessandrelli on Guido Guidi's 'In Sardegna'

In response to all my questions about his honeymoon in Sardinia, Guido told me I should also talk to Maurizio Preda. I therefore found out that there were actually three of them on the trip. Guido and his wife were accompanied by one of the close friends with whom he and Marta shared a house during his years studying architecture at university in Venice before they were married. So I called Maurizio to hear his account of the young photographer Guido in Sardinia. Talking to him was like opening a treasure chest of precious memories and anecdotes told with the enthusiasm of someone who gets excited about the great friendship of a lifetime, as if Guido were as dear to him as a brother.