Wish I were there: Stuck in her home during COVID-19, Brooklyn photographer Alison Luntz began a series of self-portraits in front of images of improbable landscapes—mountains, valleys, oceans, a traditional dinner with the family. She wore appropriate gear—a knitted cap, or a swimsuit—to fit in. Her series, titled In Spirit, “explores the gaps between where we are, where we want to be, and who we want to see,” the Guardian reports. See the images.
Retrospective: Street portraits in Harlem. The legacy of the 1963 church bombing in Birmingham. The myth and legacy of the Underground Railroad. Dawoud Bey’s retrospective at New York’s Whitney Museum traces the evolution and growth of his photography. These days, Bey tells BuzzFeed News, “I’m engaging specific moments and places within African American history and reimagining them through work that seeks to make that history resonate.”
An image, getting clearer: Photographer Deana Lawson hopes to leave behind “clues for how we might imagine the future, which is about more than representation. It’s about safety, health and longevity on this planet.” She tells the New York Times she sees her exhibitions as sites for transformation of people and their views, referring to the invisible image created on photosensitive film after it is exposed to light. “Further action, like an agent or chemistry, is required to bring that into fruition,” Lawson says.
What? No pay? The photographer was asked to shoot five weddings for a massively popular Netflix show. The problem, says Megan Saul: The producers of Love Is Blind weren’t planning to pay for it, saying they were giving her exposure instead. Saul called the request “insulting to artists,” and demanded corporations pay contractors and artists when they want work done, the Verge reported. Neither Netflix nor the producers responded to the Verge.
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