We are stalked by the moment; it is shoved in our faces and forced down our throats. Newsfeeds fatten our smartphones while we switch off to sleep. The instant an image is captured it is devoured by the perpetually famished junkies who roam the fluorescent halls of social networking and new media.
Following on the heels of our long form report about the contradictions of modern feminism, we examine current conversations surrounding workplace dress codes. Justin Bartel’s Impression series offers insights into the internalization of certain gender norms in its depiction of the physical marks left by female fashion constructs.
Through the lens of Guy Martin’s probing City of Dreams series, we look at the attempted shooting of Can Dündar and the dark theatricality of the Turkish state as freedom of the press grows ever more restricted and fact and fiction grow increasingly inextricable.
My work is an exploration of my own psyche as it connects to the world’s. It cures it, clears it, helps me to evolve. Through the pure and diligent observation of my daily life, composed of travels in France and abroad, my vision is made manifest in autonomous aesthetic experiences that attempt to highlight a bridge for communication between inner and outer worlds.
It is easy to forget how much has changed for women in just over half a century’s time, though fictionalized representations of the ‘50s and ‘60s in popular films and television series such as Mad Men and Masters of Sex serve as potent albeit melodramatically stylized reminders. In 1960, only 38 percent of American women were in the workforce, and of those, most were confined to ‘feminine’ positions like secretaries and nurses from which they could legally be fired for getting pregnant. . .
Drawing upon his familial link to the Bolivian region and knowledge of the cultural landscape, Nick Ballon employs his camera in El Alto as the vehicle for an aesthetic and sociological study of the indigenous Andean people through the material objects of their aspirational self-expression.
To fully appreciate the graphically dazzling subjects of Cyril Porchet’s Reina, it is necessary to understand the series’ place at the end of a long conceptual trajectory, shifting between figuration and abstraction in the effort to convey human systems of power and control through the two-dimensional image.