By Leigh Kamping-Carder
How American Photography Became European Art
In “Stieglitz, Steichen, Strand,” the Metropolitan Museum of Art pulls from its own collection to present the work of three heavyweights of American photography: Alfred Stieglitz, founder of the influential 291 gallery, and two of his protégés, Edward Steichen and Paul Strand. The show, on through April 10, 2011, gives each photographer his own room,…
A Mexican Suitcase Finds Its Context
In 1939, famed war photographer Robert Capa left a suitcase of film negatives in the care of his darkroom manager, Csiki Weiss. Capa, who fled Paris for New York in advance of the German invasion, would never again see the suitcase, which held dozens of rolls of undeveloped film that he and his colleagues, Gerda…
Slideshow: Illustrators at the Crossroads
The conceit behind “Blow Up,” the latest group show at The Society of Illustrators, is somewhat overblown, if you will. The show, billed as “an open window onto the visual melting pot of contemporary image making,” presents work by Tomer Hanuka, Yuko Shimizu and Sam Weber, three artists with different backgrounds who meet “at the…
‘Sensory Overload’ in America
For anyone who has embarked on a road trip across America, camera in hand, the images collected in “America By Car,” an exhibition of Lee Friedlander’s photography on now through November 28 at the Whitney Museum of American Art, will seem familiar. There’s the shrine to the teen killed by a drunk driver, the “ME…
Admit it, American Jewish establishment: Peter Beinart was right
Robert Kraft will spend $25 million running ads against antisemitism. Is this the right way to protect Jews?
Are Israeli generals more left-wing than their own government?
Evangelicals love to compare Trump to King David — but just how similar are they?
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