“His best works are able to catch the viewer immediately but, at the same time, provoke the viewer to search for more information below the surface,” Ferdinand Brueggemann of Galerie Priska Pasquer, in Cologne, tells Jessie Wender of photographer Shomei Tomatsu, who died at age 82 in Okinawa this past December.

Continue reading about the artist: http://nyr.kr/11xQuGD

(Source: newyorker.com)

In this context of the recent tragedy at Sandy Hook Elementary School, Brian L. Frank’s new body of photographs, “Dreamscape,” made during a six-week-long road trip across the country this past summer, are particularly resonant. Frank sought to explore the notion of American identity in a journey that took him from Virginia to his home base of San Francisco, against the backdrop of the Presidential race. “I kept thinking about how politicians always said the same things and tried to use Americans’ views of themselves to their advantage,” Frank told me. “And I began looking for the commonalities in this shared sense of the American ‘self.’ ” 

Despite the drastic changes between landscapes and cultures across the United States, Frank believes that, in the end, there is more that holds the country together than cleaves it apart.

(Source: newyorker.com)

The latest segment of HBO’s four-part Witness series follows the French photojournalist Véronique de Viguerie in South Sudan, where thousands have been murdered, kidnapped, or displaced by Joseph Kony’s Lord’s Resistance Army.

Watch a clip from the film (which aired last night on HBO), and click-through for more from Maria Lokke on de Viguerie.

“Vienece, Italy” (1990), by Martin Parr, in response to Issue 103, “Fiction and Metaphor” (1986).

Click-through for a slideshow of photos from “Aperture Remix: A 60th Anniversary Celebration,” for which curator Lesley A. Martin commissioned ten contemporary photographers to create photographs in response to an Aperture publication they felt most influence their development as artists.

In continuation of our Instagram Takeover series, the photographer and book-maker Andreas Laszlo Konrath will be covering the New York Art Book Fair at PS1 this weekend.
Konrath and his his independent publishing collective Pau Wau Publications will have a booth at the fair featuring a collection of their hand-made books. Follow @newyorkermag for updates this week as they prepare for the event: http://nyr.kr/OSvoxX

For over forty years,Martin Parr has photographed beach culture around the globe. From the world-famous waterfronts of Cannes and Copacabana to the lesser known Sanya and Skegness, Parr has seen it all. Having also documented Paris Fashion Week and worked with Louis Vuitton and Paul Smith, Parr is no stranger to the rarified and exquisite, but his beach work focusses on the mundane with an honest eye. As Parr once told theIndependent, “The seaside has to be one of the most fascinating places for people-watching. It is a place where we relax and lose our inhibitions, and that’s when true personalities come on display.”

As part of our Swimsuit Issue, come relax and lose your inhibitions with this sandy slide show of Parr’s beach photos: http://nyr.kr/Pu1ejy

Last week, staff photographer Martin Schoeller took over The New Yorker’s Instagram account, documenting his trip from New York to City Twinsburg, Ohio, where he attended the Twins Days Festival, which is exactly what it sounds like. In Ohio, Martin wrapped up his year-long project of photographing identical sets of twins, triplets, and quadruplets, and kept us visually updated throughout the week on The New Yorker’s Instagram feed—his first time using the photo-based social media site. “I enjoyed the experience, in a sense of feeling like a photo student again,” Martin said. “I enjoyed just being curious and analyzing everything I see. Taking pictures with a phone is refreshingly easy.” Click-through for a selection of Martin’s Instragram shots from his journey to Twinsburg: http://nyr.kr/Mr0XrN

This is the first in a series of guest photographers taking over The New Yorker’s Instagram account. Follow @newyorkermag for updates.

For the past ten years, the photographer Stephen Ferry has working on what he calls a “collective photographic record of the Colombian conflict.” The long-running internal unrest in Colombia, he warns, isn’t just a product of the drug wars, but “involves a baffling array of actors: The Colombian Armed Forces, supported by the United States, two guerrilla armies, and a host of right-wing paramilitary militias and criminal gangs.” Ferry’s project, which brings historical information and images together with his own landscapes of Colombia and portraits of its people, is currently on display at Umbrage gallery, and will be the focus of his upcoming book, “Violentology.” Click-through for a look at Ferry’s photographs: http://nyr.kr/OHS0Qn

(Source: newyorker.com)

Starting today, Martin Schoeller will be the first in a series of guest photographers to take over The New Yorker’s Instagram account. Follow @newyorkermag for updates from Twinsburg, Ohio, where Schoeller will be documenting the Twins Days Festival, the world’s largest gathering of twins. In addition to his work for the magazine, Schoeller has been photographing sets of identical twins, triplets, and quadruplets around the country since 2011, and this week he’s in Twinsburg to take the final portraits for his book “Identical: Portraits of Twins & Multiples,” which goes to press later this month. All this week, he’ll be showing us what he’s seeing on Instagram. Stay tuned!

Martin Schoeller has been a staff photographer for The New Yorker since 1999.

Louise Lawler is a photographer known for her portraits of other artists’ work, in which she gives special attention to all the connecting tissue that holds and frames it: walls, floors, hallways, storage units, workers’ hands. As its title suggests, her latest book, “Louise Lawler and/or Gerhard Richter,” published by Schirmer/Mosel, is devoted to photographs taken over the past twenty years of art by Gerhard Richter—including photographs of Lawler’s own photographs of Gerhard Richter pieces (who himself uses photographs and other forms of media in his paintings). The result is a playful exchange among artwork and artist, photograph and painting, and all the trappings that surround them. Click-through for a selection of Lawler’s work: http://nyr.kr/LZ5V3t

(Photographs courtesy of Louise Lawler/Metro Pictures, New York.)

(Source: newyorker.com)