The ethical dimensions of artificial intelligence (AI) image colorization were recently brought to public attention when several historical images were altered using digital algorithms. Irish artist Matt Loughrey digitally colorized and added smiles to photos of tortured prisoners from Security Prison 21 in Phnom Penh, Cambodia, which was used by the Khmer Rouge from 1975-79. […]
David Wadelton understands that photography is a form of time travel. Small Business, his new book of photographs, transports us to Melbourne’s vanishing architecture of interior workplaces created by largely working-class, post-war immigrants from Europe.
In the inevitable tide of recognition of so many women artists of the past 20th century who passed simply as muses, lovers, wives or companions, when their work was truly as strong, beautiful and original as that of their partner, Dora Maar, for many reasons, occupies a special place. [Read More]
Photography has always had a relationship to haunting as it shows not what is, but what once was. The process whereby light must bounce off the subject and back towards the camera suggests that photographs have touched and carry a trace of what is shown.
Unstable. Criminal. Impoverished. Absentee fathers. Neglectful mothers. “A tangle of pathology,” as the Moynihan Report, a 1965 study on Black poverty, put it. For decades, the Black family has been denigrated as dysfunctional.