Why Robert Frank’s “The Americans” Matters Today

Robert Frank at 90: the photographer who revealed America won't look back

Filled with images of loneliness and shadow, Frank’s The Americans stands as one of photography’s greatest works

Eight Photographers on Their Favorite Image from Robert Frank’s “The Americans”

Jason Eskenazi, a photographer and former security guard at the Met, collected responses to the foundational book’s indelible pictures.

New Topographics: photographs that find beauty in the banal

William Jenkins's 1975 exhibition rewrote the rules of landscape photography. Does it have the same impact today?

Gazing Back at the Surveillance Cameras That Watch Us (Published 2018)

These photographers explored the implications of a culture of pervasive monitoring.

Art Spiegelman: ‘The US needs a counter-revolution’

More than four decades after his Holocaust story Maus transformed the graphic novel genre, Art Spiegelman discusses Trump, the shadow of 9/11 and the rise of fascism in America

Hawkins-Weeks Photography

A blog about photography, featuring landscape, nature, abstract and macro subjects, plus articles on art, music and books (oh, and coffee!)

steve.photo

Photography by Steve

The Birth of the Attention Economy

The rise of the cheap, daily newspaper in the 19th century remade how Americans engaged with the world.

The Irving Penn Foundation

Official website of The Irving Penn Foundation, with background information on the life and career of photographer Irving Penn. Includes images, biography, chronology, exhibition list, bibliography, and news.

Photography Prints by David Hawkins-Weeks

Photography prints and cards by David Hawkins-Weeks

Culture & truth : the remaking of social analysis

xii, 253 pages ; 22 cm; Argues for a new approach to thinking and writing about culture. Exposing old conceptions, the book argues that new ethnographic writing must come to terms with the dynamic nature of social reality - with history, spontaneity, and human emotions; Originally published: Boston: Beacon, 1989; Includes index; Self-Renewing 2017; Includes index

An Interview with Robert Frank - "If An Artist Doesn't Take Risks, Then It's Not Worth It." (2007)

An Exclusive Interview with Robert Frank, Robert Frank’s Studio, New York, July 22, 2007

Utopian media studies: Introduction

This introduction to the special issue ‘Utopian Media Studies’ sketches a framework for how media studies can become a site of utopian praxis, research and experimentation. It first addresses three apprehensions media scholars might have about the notion of utopian media studies and its appeal to a loaded concept like ‘utopia’. The introduction then outlines five sensibilities to explicate the nature and significance of this special issue’s contribution to the field: a utopian media studies must adopt an ecological approach to media; recognize and be invigorated by limits; work toward the technological liberation of time; connect imagination with practice; and emphasize and enable conditions for transmitting hope. Lastly, the introduction considers Ruth Levitas’s distinction between utopia’s archaeological, ontological, and architectural mode to map some of the concrete ways in which existing media studies research is doing utopian work that aligns with these sensibilities. In connecting work that operates in these modes with the various contributions to this special issue, the introduction reveals the utopian currents that already run through media studies as a discipline and opens up new conceptual and methodological approaches to studying and modeling digital utopias.

Utopian media studies: Introduction

This introduction to the special issue ‘Utopian Media Studies’ sketches a framework for how media studies can become a site of utopian praxis, research and experimentation. It first addresses three apprehensions media scholars might have about the notion of utopian media studies and its appeal to a loaded concept like ‘utopia’. The introduction then outlines five sensibilities to explicate the nature and significance of this special issue’s contribution to the field: a utopian media studies must adopt an ecological approach to media; recognize and be invigorated by limits; work toward the technological liberation of time; connect imagination with practice; and emphasize and enable conditions for transmitting hope. Lastly, the introduction considers Ruth Levitas’s distinction between utopia’s archaeological, ontological, and architectural mode to map some of the concrete ways in which existing media studies research is doing utopian work that aligns with these sensibilities. In connecting work that operates in these modes with the various contributions to this special issue, the introduction reveals the utopian currents that already run through media studies as a discipline and opens up new conceptual and methodological approaches to studying and modeling digital utopias.