photographs

Photographer Gary Monroe’s Bygone Era of South Beach

The Editors

Influenced by photographers such as Garry Winogrand and Henri Cartier-Bresson, Monroe traversed South Beach capturing candid moments, daily activities, religious services, and community gatherings. Many of the Jewish residents during this time had retired from factory jobs in the Northeast. Some had survived the Holocaust and had immigrated to the U.S. from Europe decades earlier. They came to South Beach where, even on a modest retirement income, one could enjoy an active Jewish cultural and religious life as well as Miami’s warm sunshine, therapeutic ocean, and welcoming beaches.

Zoe Leonard at the Whitney: Artist as Anthropologist

Sandra Bertrand

The eye moves warily over images that at first feel disjointed, even disorienting. The black and white photos are intentionally left uncropped, their black borders adding to their mystery and power.  Even the dates the shots were taken and produced are a noteworthy item of interest to the artist.  A series of clouds seen from a plane window; aerial images of a New York City landscape, somehow make the grid of buildings below appear removed and anonymous from the life that you know pulsates below. 

‘How We See’: Photographer Laurie Simmons’ Mainstream Embrace

Sabeena Khosla

Simmons made a name for herself in the ‘70s and ‘80s by constructing dollhouse rooms and photographing them. They were a subversive reflection on the Marxist notion of the fetishizing commodity and were done through a feminist lens. She was not interested so much with creating a narrative in her photographs, though her subject matter may have reflected otherwise. Rather, she refers to the early works as “doll still life work” and they became as such after she stared at the created spaces until they became void of meaning and abstract to her. 

Profiles: A Photo Essay

Anthony Rhoades

I’m as interested in the process of photographing people as much as I am in the final product. The act of creating portraits is a collaboration between the photographer and the subject. This relationship provides a certain feedback that’s not present when photographing, say, a building or still life. That’s what draws me to people—the energy exchange and the nuances of that relationship. 

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