John Pfahl’s innovative work in landscape photography focused on the problems of perception and representation. He systematically questioned the medium. His early and probably best-known series, “Altered Landscapes,” is a perfect example of his constant quest. […]
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Collage/assemblage as a medium seems simple, but in practice is quite complex. Mr. Beard has mastered it on many levels, from the tactile and visual to the intellectual and intuitive. Everything in these works becomes integral to them, retaining its own flavor and texture while also blending with the other ingredients, as in a perfectly made stew. […] Wynn Bullock’s ability to reconcile both these approaches to photographic praxis, the European and American versions of modernism, has few parallels in the field. The consequent breadth of his investigation of the medium makes him one of the most experimental photographers working in the U.S. in his time. […] [This is the fourth in a series of decade-by-decade posts of material from my archives. For the third, click here. By 2000 I had left the New York Observer, relinquishing — though not without a fight — the column I had run there from 1988-97 when they demanded ownership of copyright to my articles. The […] We can date John Morris’s active involvement in generating the Capa D-Day myth to sometime during the summer or fall of 1954, when, as Executive Editor of Magnum Photos, he wrote the captions for a posthumous Capa portfolio that would appear in the 1955 edition of U.S. Camera Annual. […] |
 SPJ Research Award 2014All content of this publication is © copyright 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017 by A. D. Coleman unless otherwise noted. All materials contained on this site are protected by United States copyright law and may not be reproduced for commercial purposes without prior written permission. All photos copyright by the individual photographers. "Fair use" allows quotation of excerpts of textual material from this site for educational and other noncommercial purposes.
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