The Devil Is Leaving His Cave

In early 2021, I spoke Karolina Gembara about her work (you can find the long conversation split up into part 1 and part 2). There was one particular aspect of the conversation that I kept coming back to in my head (it’s from part 2):…

Day Sleeper

Thoughts on Dora Maar

Time Atlas

A Part of Marianne Müller’s Life

The Second Shift

The Form of the Photobook (Revisited)

After Social Media

Were it not for the nightmares.

You Haven’t Seen Their Faces: Contemporary Photography’s Stylish Muteness

Mari Katayama’s Gift

Making Pictures With Migrants

Making Sense of the World with Pictures

Lacuna Park

Making Pictures

Berlin-Wedding (and the rest of West Germany)

Fünf Finger Föhn Frisur

American Origami

Bath in Brilliant Green

Attention Servicemember

When Red Disappears

Photobook Reviews W39/2019

Images and Text, Text and Images

New Dutch Views

Photography in the Era of Digital Proliferation

Paula Markert’s voyage across Germany

家族 – A Fragmented Response to Masahisa Fukase’s Family

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

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