Discover the art of photography in context

• Lucas Samaras (1936-2024)

Self-portraiture centered on the artist's body, produced with a Polaroid 360 camera through self-directed posing, dramatic lighting, and ink intervention.

• William Christenberry (1936-2016)

A former rural store, documented through recurrent photographs of material change over more than twenty-five years.

• Anton Giulio Bragaglia (1890-1960),
• Arturo Bragaglia (1893-1962)

Exploration of motion’s continuity through early 20th-century Futurist photography, emphasizing movement over static realism.

• Daidō Moriyama (1938)

New York as unstable urban evidence, rendered through magazine-like half-frame pairings, irregular copying, and a variable photographic sequence.

• Roy DeCarava (1919-2009)

Harlem community and family life in the late 1940s and early 1950s, presented through black-and-white photographs and fictional narration.

• Naoya Hatakeyama (1958)

Quarry extraction as the beginning of urban construction, presented through color photographs of controlled blasts made with a remotely operated camera.

• Les Krims (1942)

Fabricated conceptual photography on forensic imagery, presented as a ten-print photomechanical folio questioning photographic evidence and manipulation.

• Nobuyoshi Araki (1940)

Intimate visual diary documenting love, shared experiences, and loss through an autobiographical lens.

• William Christenberry (1936-2016)

One changing commercial building in Greensboro, Alabama, recorded through repeated photographic returns from 1967 to 2000.

• Gabriele Basilico (1944-2013)

Chair–body contact and temporary imprint, rendered through staged studio photography with Polaroid negative film and raking light.

• John Hilliard (1945)

A camera recording its own exposure settings, presented in seventy black-and-white photographs ranging from overexposure to underexposure.

• W. Eugene Smith (1918-1978),
• Aileen Mioko Smith (1950)

Methyl-mercury poisoning and resistance in Minamata, documented through a collaborative, advocacy-oriented black-and-white photo-essay.

• Masahisa Fukase (1934-2012)

A two-decade photographic study of family life, combining personal history, theatrical staging, irony, and performative elements to examine change and continuity.

• Takuma Nakahira (1938-2015)

Daily performative engagement in Paris, where Nakahira photographed, developed, and displayed prints overnight, emphasizing circulation, transience, and the evolving relationship between images and time.

• John Divola (1949)

The meeting of moving dog and car, rendered in grainy black-and-white photographs made from Divola’s moving vehicle in the Southern California desert.

• Annie Hsiao-Ching Wang (1972)

A mother–son relationship, recorded through recursive black-and-white photographs placing previous family portraits within each new image.

• Hiroshi Sugimoto (1948)

Exploration of repetition, infinity, and time through symmetrical compositions highlighting subtle visual distinctions among Buddhist sculptures.

• Eadweard Muybridge (1830-1904)

Empirical study of human and animal motion through sequential photography, highlighting the mechanics of movement.