Ken Light revisits the photos he took of immigrants crossing the border between Mexico and the US in the 1980s.
‘The people I met once I reached Bamiyan were not victims.’ Janine di Giovanni introduces Monika Bulaj’s photographs.
‘In these miniature worlds lined with goods, filled with the tools and residues of labor, we experience the enclosure of hearths; of a unique domesticity within exclusively male spheres.’
A graphic essay on dogs, adoption and Donald Trump.
A new photo-essay by Soumya Sankar Bose that recreates the dreams of his LGBT friends in India.
‘It was a red-light district and a plywood market and a town of hoodlums in one. I’ll add one more thing: The whole place stunk of sewage.’
‘These images appear to give a glimpse of a ghost-self, a photographic negative of the heart.’ Andrew McMillan introduces photography curated by Sébastien Lifshitz.
New work from graphic artist Tommi Parrish.
‘If Sawada can transform herself without limit, maybe I can too.’ Sayaka Murata introduces Tomoko Sawada’s photographs, translated from the Japanese by Ginny Tapley Takemori.
These prints from Gunnar Smoliansky's Diary consolidated his position as a major photographer.
‘ISIS’s second conquest of Palmyra astonished everyone, and fed the belief in a Syrian government conspiracy to assist ISIS.’
‘They had believed they were coming to a new town. But, they said, Harlow wasn’t new: it looked old.’
‘Often when I stare into the alien circuitry of a Burtynsky picture, it takes me a while to figure out what has actually been photographed.’ Anthony Doerr introduces Edward Burtynsky’s photographs.
Slinkachu talked to our senior designer Daniela Silva about how he created the cover for Animalia.
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