Modernist Photography, Data Science, and Global Photo Club Culture

“Modernist Photography, Data Science, and Global Photo Club Culture: An Introduction to José Oiticica Filho’s “Setting the Record Straighter”” (provisional title) is an introduction to accompany a reprint of Oiticica Filho’s 1951 article whose first translation from Portuguese (by Luisa Valle) I commissioned for a special edition of journal ARTMargins vol. 8, no. 2 (2019), edited by Chelsea Haines and Gemma Sharpe.

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Following the Invisible Hand: The Role of Photo Clubs, Magazines, Exhibitions, and Curators in Latvian Photography, 1960­–2000

Following the Invisible Hand: The Role of Photo Clubs, Magazines, Exhibitions, and Curators in Latvian Photography, 1960­–2000” is a commissioned research article for a volume of articles about the twentieth-century art in Latvia, Ten Episodes, edited by Elita Ansone, to be published by Latvian National Museum of Art, Riga, Latvia, in 2019.

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FIAP Biennial in Photokina 1956: A Revolt Against the Universal Language of Photography

The leaders of the U.S. and West Germany, international organizations such as the UN and UNESCO, the photography industry, and photographers around the world all shared a similar idealism. Their praise of photography as a universal language, however, was unanimous only in theory. In practice, art exhibitions organized within the framework of Photokina 1956 revealed a chasm between two radically different understandings of photography.

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