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Reinventing Photography (1974)

Many contemporary artists appear to believe that photography is a virgin territory without a history, free from relevant precedents and prior accomplishments: a brand new field of ideas which have not even been touched on by the medium’s own practitioners, in which any small step breaks new ground. […]

Art Critics: Our Weakest Link (1974)

The lack of knowledgeability of the art critics in regard to photography does not stop with them; it is transmitted to both the audience and the artists. Such a situation is not merely regrettable, but damaging to all concerned. […]

Julio Mitchel: Two Wards (1974)

The contrast between the world outside the hospital, where the physically well cannot find relief from emotional pain, and the world inside the second of Julio Mitchel’s “Two Wards,” is the photographer’s major point. It emerges from neither of these two essays separately; it is created by their combination. […]

Michael Martone: “Dark Light” (1974)

These are not cheerful photographs. They are direct, and specific metaphors for what would seem to be a profound and prolonged suffering which encompasses impotence, fear, deprivation, and loss. Their power resides in the preciseness with which they describe not merely what the eye has seen but what their maker has experienced. […]

Alternate History: Robert Capa on D-Day (54b)

In conjunction with the 80th anniversary of D-Day (and the 10th anniversary of the Capa D-Day project), several prominent U.S. websites published features that referred to our investigation and treated it respectfully, as a reliable source of information and a counterbalance to the prevailing myth. […]