When a photographer reviews 35 years of unposed family pictures—unexpected moments, children growing older—a symphony appears.
Multi-layered photographs show people’s inner lives merging with their environments—suggesting that what we see of reality is less than what actually exists.
The spread of the selfie produces daily turmoil, from columnist doom-mongering to celebrity scandals. Meanwhile, the world just took a billion more. Defense of a misunderstood phenomenon.
Ear cleaners, knife grinders, street-side barbers—portraits of Indian tradesmen who maintain caste-prescribed professions.
Modern-day totem poles constructed from Americans’ favorite consumer materials—cars, beer cans, even cheeseburgers.
A new book, Only in Burundi, provides a candid look into the post-conflict, everyday life of Burundians, from nuns to the president.
In the instance of slipping, there’s a moment of stillness just before you lose control. Selections from 10 years of a falling man’s self-portraits.
Portraits of a boy who was born without eyes, from one of the 21 “new and emerging photographers” selected this year by Lens Culture.
Experiencing a piece of art can be transporting, but the act of explaining it to someone else is an art form in itself. No wonder that docents, professors, even patrons get caught up in the act.
Selections from Sam Stephenson’s multi-artist project documenting a season with the Durham Bulls, the North Carolina AAA baseball team that inspired the film Bull Durham, which celebrates its 25th anniversary this year.
From his new solo show in the United States, black-and-white selections from Takuma Nakahira’s “Circulation: Date, Place, Events,” plus a reprint of his 1973 essay, “Looking at the City or the Look From the City.”
Portraits of community, recreation, and environmental abuse along the riverbanks of Washington, DC’s, Anacostia neighborhood.