Photography

Just as we risk becoming inured to the crisis, an exhibition, “Coal + Ice,” serves as a stunning call to action.

A new anthology by Chinatown’s omnipresent documentarian, who captured half a century of shifting identities, activism, and daily life.

Some of the portraits in “This Train” have an Edenic quality to them, as if Kurland is asking: What if my kid and I were the only two people in the world?

Alex Garland’s latest film, in which the U.S. has collapsed into brutal internecine conflict, has polarized audiences with its depiction of violence—and its evasion of politics. In art and in life, how do such visuals change the viewer?

A new show at the Gagosian Gallery showcases the photographer’s tragically abbreviated career, including a never-before-exhibited masterpiece.

Richard Billingham’s unvarnished depiction of his parents and brother in the book “Ray’s a Laugh” earned him accusations of sensationalism. But, he says, “I’m a realist.”

“Solo Apto Para Mí Misma” chronicles adolescence amid the pandemic in the eastern plains of Colombia.

Robert Cumming didn’t achieve lasting fame during his lifetime, but in the years since his death, in 2021, he’s experienced a much deserved mini-revival.

The author discusses “Incoming,” his story from the latest issue of the magazine.

An American photographer brings a fresh eye to an ancient city.

Talia Chetrit’s heady and eclectic body of work pokes holes in our expectations of what an image can reveal or hide.

For decades, Brian Graham, a onetime schoolteacher and oil-rig worker from Cape Breton, took portraits of his friend and mentor, Robert Frank.

The artist’s correspondence with a Parisian boyfriend offers a glimpse of his life before AIDS.

Jay DeFeo’s career was dominated by a single massive painting. Then photography showed her a way forward.

Before the Chelsea Hotel got swanky, a long-term resident captured the louche building—and its iconic guests—with a black-and-white-film camera.

Black people are generally pictured as doing anything but relaxing—as being attacked, or agitating, or performing. The Black Rest Project aims to widen the lens.

The proliferation of images via cell phones may have taken away the war photographer’s ability to create a single, arresting, and iconic image, but their accumulation will haunt us.

In his heyday, the prolific fashion photographer was interested in models with character and characters he could turn into models, if only for a day.

Barbara Mensch’s new photographic history, “A Falling-Off Place,” begins in the early eighties, and shows a city transformed.

The jarring juxtapositions of Jamie Lee Taete’s collection showcase the sometimes fine line between gimmickry and genuine belief.