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Israel’s weaponization of images since October 7 obfuscates its genocidal campaign against Palestinians.
Images seized from enslaved people are not private property to be owned but ancestors to be cared for.
Slavery and the Civil War were central to the development of photography as both a technology and an art.
The modes of perception and living that we attribute to Instagram are rooted in a much older aesthetic of the picturesque.
From scrapbooks to family albums, a new book presents their visual testimonies from Kashmir.
Larry Sultan’s elegiac photography captures the suburban American home.
For many critics, photography has become a duplicitous force to be defanged rather than an experience to embrace.
Heinrich Jöst’s photographs of the Holocaust dwell in what Jean Améry called “the waiting room of death.”
The photographer wanted to show what freedom, and the people who made it, looked like.
In the Chinese Cultural Revolution, the weapon of choice was not the gun but the spectacle of public shaming.
Do we approach the photograph as spectators, or as citizens of the world?
Can photographers, unlike writers, leave their native land with impunity?
Geoffrey Movius speaks with Susan Sontag about photography, writing, and memory.
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This is a perilous moment for independent media. As a small nonprofit—with no sponsor or endowment—we rely on the generosity of readers to support our work.
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Every contribution helps pay our writers and sustain our website—always free to read for everyone, since you can’t build a more just world behind paywalls.
