家族 – A Fragmented Response to Masahisa Fukase’s Family

I can’t look at 家族 (kazoku – family) without my ideas of family in mind, in particular my tortured relationship to some of its members. To pretend that I could look at these photographs of a father-son relationship without any of that weight would be…

Your Post Goes Against Our Community Guidelines: An Algorithmic Rewriting of History

A World Held At Arm’s Length: Ke Peng’s Salt Ponds

Your Post Has Been Deleted – Censorship on Instagram

Photography and Surrealism: Sohrab Hura’s The Coast

The Battle over Visibility

Photographing a Zero-Sum Game

Camera Austria – A History

Federico Clavarino’s Vision

Why I Hate Cars

As Time Goes By

a Revolution through Books

The Stasi Files

Arwed Messmer: Revealing Glacial History

Heisei, Reiwa, and the Limits of Photography

Aenne Biermann’s 60 Fotos

Pure Country

Book Reviews W15/2019

Merit and Exclusion

Corbeau

Vele

Futerał: The Ideologies of Architecture

42 Orte, 35 Personen

Migration as Avant-Garde

Showcaller: The Politics of Looking

Photography in India

The Last Image: Photography and Death

Three Reviews: Faminsky / Southam / Milach

Littoral Drift + Ecotone

Sun Gardens

The Universal Photographer

How We See

Your Blues, My Blues

Diane Arbus’ Cruel Gaze

Kleinstadt

Mark Steinmetz’s Time of Being in Love

How to Do The Flowers

Revealing a Fishy Story

Christopher Anderson and the Joy of Seeing

Writing about Photography: Three New Books

Barbara Bosworth’s Heavens

Michael Lange’s Neo-Provoke

Cristina de Middel’s Perfect Man

The Precious-Picture Complex

Fundraiser 2018

RIP Hannes

Photography’s Macho Cult

Experimental Relationship

Approaching Luigi Ghirri

All that Stuff

Mind the Gap (or: What is Criticism Anyway?)

Photography and Fake News

42nd and Vanderbilt (and everywhere)

Big Brother

And Time Folds

Human

About those ratings…

Two Times Twelve Million Black Voices

Rayon Vert

Gerry Johansson’s Germany