I arrived in Japan in 1992, incredibly anxious about the fact that less than six months earlier I had shaved my head. I felt very butch, much too raw, and totally unprepared to navigate the sophisticated cultural and gender dynamics that I suddenly found myself engulfed by as a young American woman teaching English. Most of my colleagues in the Japanese English Teaching program run by the Ministry of Education had their eyes set on a career in diplomacy or business. Prior to my arrival, I had been tearing down drywall for a housing rehabilitation program, teaching neighborhood kids how...
Though her subject matters are personal, Nagashima sees her photography as something everyone can relate to, and likens her work to storytelling and creating narratives. She also describes her work as “performative and political”, and some of her early series – photographs of her and her family nude, created in the 90s as a means of separating the body in photography from a sexual context, for example – speak to how she has used photography to subvert accepted ideas, from a distinctly feminist viewpoint. Through her raw and radical photography, Nagashima was questioning the way that women were traditionally depicted in photographs...
Reductively labelled a “girl photographer” in the 90s, Nagashima is now a leading voice in feminist photographic discourse. Here, the Japanese photographer discusses her new book of self-portraits, and why she took it upon herself to rewrite history,,, by Marigold Warner
Amsterdam-born with Greek heritage, Marcopoulos still bleeds New York. Hearing his answers made it clear that the artist only documented what he found genuinely interesting and it simply happened to be something that made him successful. He saw beauty in skate culture, and his raw documentation caught fire as more and more people saw the beauty through his lens. ,,, by Willa Rudolph
The books, featuring images taken in New York and California respectively, showcase a ceremonious ode to skateboarding. A fast and furious ride, each tome presents an intimate lens into the extreme sport: at times an adrenaline rush equivalent to an episode of Rocket Power, at others a soft depiction of skating as if it were performance art.
Another absolutely thrilling example of how Nagashima uses the camera’s power is provided by Self-Portraits, a newly released collection of photographs. At the occasion of her retrospective at the Tokyo Photographic Art Museum in 2017, the photographs were shown as a 30 minute slide show with more than 600 images, spanning 24 years (1992-2016). In the book, they are distilled down to a smaller number, presented chronologically.
The earliest photograph shows a young, serious looking backpacker, her face turned to the camera, while the rest of her body is ready to walk off onto some trip. The following photographs employ a....
By Holly Black
"Britain’s ubiquitous graffiti-strewn carparks, rundown bus stations, and no-frills pubs might not seem like obvious subjects for artistic scrutiny. But these seemingly innocuous places hold a special kind of magic for Adam Murray and Robert Parkinson, who started documenting them a decade ago in Preston, the northern city where both artists lived and worked at the time. Now, the pair looks over the legacy of their collaborative project with a new book, Preston is my Paris: 2009–2019, presenting a slice of the huge amount of imagery they produced..."