Wolfgang Tillmans, Harley Weir, and Nick Sethi are among the almost 70 artists who have each contributed a new image to the publication — the proceeds of which will be donated to 20 different charities during COVID-19
Fine Art
Steph Wilson reflects on her relationship to photographing skin and flesh up-close, in all their imperfect gloriousness, during this period of self-isolation — the first in a new series inviting photographers to reflect on subjects central to their work
Dedicated to the creative legacy of Nobuyoshi Araki, the first issue of dada magazine champions mostly-female creatives and their nuanced explorations of sexuality
In her debut photobook, Some Kind of Heavenly Fire, Female in Focus winner Maria Lax straddles a blurred line between familiar and foreign
The photographer’s rare 1978 photobook Re-visions becomes available in a new edition
The French photographer’s ethereal works will be exhibited in Santa Monica, California
In his debut exhibition, Sejersen takes us on an unsettling visual journey set to the beat of a drum
When photographer Jess T. Dugan was 13, she started to question her identity. Over the…
Born in Poland in 1985 and based in London, Joanna Piotrowska has had a stellar career so far. Studying photography at the Academy of Fine Arts in Kraków and then on the prestigious MA at London’s Royal College of Art, she won MACK’s First Book Award in 2014 with FROWST, and then the Photoworks & Jerwood Award in 2015. She’s already shown her work at the Winterthur Fotomuseum, Switzerland, MoMA in New York, Hayward Gallery, Institute of Contemporary Arts and Sadie Coles in London, and now her first solo show has opened at Tate Britain.
Titled All Our False Devices, the exhibition includes both still photographs and 16mm films to consider gestures, relationships, and power. The series Self Defense, 2015 shows young women re-enacting poses from self-defence manuals, for example, while Shelters, 2016-2018 shows makeshift structures Piotrowska invited people to build at home in Lisbon, Rio de Janeiro, Warsaw, and London.
Discovered objects and images play a vital role in the work of Vancouver-born, Brooklyn-based artist Sara Cwynar. Her practice blends collage, still life and portraits in photographic and filmic forms, incorporating material sourced on eBay, or at flea markets and the like. So when the opportunity arose to hold an exhibition at the Minneapolis Institute of Art last autumn, followed by a show at Milwaukee Art Museum this spring, it seemed a serendipitous moment to unearth works incorporating items from an archive close by.
“Some of the pictures that I’ve used as source material over the years came from an eBay seller who bought the archive of an old photo studio in Milwaukee,” she explains. “I think it was operational from the 1950s to the 1970s or so, and it closed down a long time ago. I like that they tie in to the location; I have repurposed some of the negatives from that for this show.”