Search results for ""Daylight Books""

A Poor Imitation of Death is a complex and collaborative narrative: the youth’s own writings, drawings and words combine with my photographs to create a unique and authentic ‘voice’ that speaks about the realities of youth in prison. It tells a harsh story: full of despair, raw emotion and injustice but also of incredible inner strength and huge potential for change.

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The pandemic serves as background to this story of human life and dynamics in a period of great individual and global uncertainty. From self portraits taken at the height of the lockdown to street photography in New York, Europe and Argentina, Trapped seeks to capture human feelings during these challenging times of social disruption and personal anxiety.

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The Red Purse is about love, loss, and rebuilding. Shortly after the death of her husband, Rupp bought a red purse, which became deeply personal to the artists. The red purse allowed freedom in an otherwise dark and uncertain time as a young widow.

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New York City subways – the century-old transit system has survived two World Wars, the Great Depression, and Hurricane Sandy. It and the millions of citizens that rely on it as their daily lifeline will also survive the COVID-19 pandemic. Subwaygram captures mobile phone street portraits of the diverse community of riders two years before and two years after the first case was confirmed in New York City and the commonalities in the fleeting moments of their journeys.

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The photographs of Ex Crucible show incarcerated men and women creating artworks with a talent, passion, and authenticity that illuminate the humanity of the artists. These intimate photographs demonstrate the importance that creativity can have in these bleak, controlled spaces.

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Viewing Distance compiles and transforms declassified material from US government archives to examine photography as a tool of the military-industrial complex for reconnaissance, surveillance, and documentation of advanced technologies. While many of the source images for this body of work date back to the middle 20th century, they have only recently been released and much information remains secret. These pictures represent the decades-long time delay from when knowledge comes into being and when it becomes publicly accessible. The Cold War period that much of the material originates from is a significant turning point in photography’s technological development and use for intelligence gathering. The book combines photographs pertaining to the clandestine innovations and operations of that era with contemporary documents and devices, connecting past and present. Processes including analog printing, digital collage, scanner manipulation, and data bending are used to animate the archival material. Through this disruption and layering, historical fragments are presented in a state of flux, open to alternate associations and implications. What we are allowed to know and see is often incomplete and indeterminate, encouraging speculation and critical vision.

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Made in response to the death of the artist’s sister shortly before the birth of his first child, Jason Reimer’s work ponders the meaning of life, death, suffering, and human nature. It does so in the form of a fragmented, apocalyptic narrative embodied within a book that utilizes multiple textures, substrates, and complex image sequencing.

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The Devil’s Pool photographs explore a swimming hole in Philadelphia’s Wissahickon Park and emphasize the value of access to green spaces within an urban setting. The project investigates how people relate to their environment and affirms a human need or impulse to commune with the natural world. The work pictures diversity, celebrating the human body interacting with nature, and looks at relationships among people, their bodies, and the environments that they inhabit. It recognizes a long tradition of bathing throughout art history (both indoors and out in nature) and the potential for a pictorial space where the body can be openly represented and honored. This work considers the reflexivity in viewing imagery of people fully taken by their physical and psychological surroundings. Devil’s Pool stems from my love for the Wissahickon and the respite that it provides. People from all over are drawn to this urban swimming hole as a place to play and revel in physicality and nature. The images depict moments of coherence among our bodies and the world around us. At Devil’s Pool, I am able to expand my admiring picture of everyday bodies, their owners absorbed in unselfconscious presence.

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Family Resemblance is a multiyear photo project that documents and celebrates people who are genetically related and bear a strong resemblance to each other. As an adopted person, photographer Eric Mueller always wondered how it would feel to look like someone else. At age forty-five, when he saw a photo of his birth mother for the first time, it triggered the idea to photograph family members with shared physical characteristics. Over the course of three years Mueller photographed around 700 people — from newborns to nonagenarians — and asked them what it’s like to resemble each other. The result is Family Resemblance, a book exploring the special bond that certain family members share. Interlaced with the photos are quotes from project participants, revealing how resembling one another has affected their lives and relationships.

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When considered as an object the photograph exists physically in the world, it belongs to someone; it gets held, it has weight, value. I’ve been interested in this concept for some time. It was this interest plus the recurrent use of my images online without my permission that motivated the creation of the series Little Romances. I have always made very personal work, my current emotional state and interests get translated directly into my images. Most all these images reflect questions and anxieties about being a woman, navigating what that means; what is expected of me as a mother, daughter, wife or lover versus what I’m capable of. In sharing my work online, sometimes it is treated with respect, but more often not. Not being asked for its use, and/or not being credited; it’s upsetting being treated that way especially with such personal images. In Little Romances I photograph prints of my photographs and they become a physical object; my object. I surround them with elements from my garden or other personal items not to evoke nostalgia or sentimentality but to deepen my physical connection/claim to these images and distance them from the viewer. The object-image becomes obscured, repurposed, diverted, so that its original intent remains safe from viewing and at the same time it explores a new narrative.

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Putting a new spin on old histories as my ten year old daughter stands in for a youthful me—the one I remember and the one I was never quite allowed to be—"Stories, 1986–88" pairs deadpan portraits with short narrative texts to bring the past into the present as we relive and rewrite my childhood stories through a restorative approach to image-making and storytelling.

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A Crack In The World presents Barbara Kyne's photographs of the five acres which she and her partner share in Mariposa, California. Kyne photographs as a means of looking for clues to so---called reality, wondering what is outside of the environment that she can detect with her own limited human biology--ultimately producing a photography of nature that does not rely on the nature genre or even on the subject matter of nature for engagement or visual enjoyment, but instead examines the possibilities in the unsensed and imagined. A Crack In The World contains fresh and elegant, yet layered and technically complex, photographs made with the intention of inspiring empathy for all beings and the planet that sustains us. Essay by Susan Griffin examines the artistic and theoretical implications of this deceptively simple body of work. Barbara Kyne is an artist based in Oakland, California. Her work has been shown at SF Camerawork, Photo Center NW, the Trition Museum of Art, The Kala Institute, and the Bedford Gallery, and is featured in many contemporary photography books and publications.

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We Were There explores the symbiotic relationship between rock concert fans, the bands, and the photographer at music festivals. Sandy Carson's photographs candidly capture the true human experience of interacting with music. Sandy Carson is a Scottish photographer who has exhibited nationally and internationally, from Texas and New York to Switzerland and Scotland. His commercial clients include the New York Times, The Huffington Post, Rolling Stone, Nike, ESPN, and Disney.

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The Many Pleasures: Found Art in New York City celebrates the City’s rich visual tapestry through photographs of street and subway surfaces transformed by human hand and organic decay. The book’s images of torn posters on buildings, construction fences, subway panels, and doors and mailboxes covered with stickers and graffiti remind us that art is all around us, as much a way of seeing as objects to behold.

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N. O. K. -Next Of Kin, examines the ways in which American families memorialize their relatives killed in military conflict. The photographs, spanning 2014-2017, focus on the personal altars and private displays of mementos and objects dedicated to lost soldiers. This response from families must be part of the public discourse on war and its aftermath. N. O. K. Includes two volumes, one featuring photographs and one containing testimonials and essays from Gold Star Families. Inbal Abergil is an internationally exhibited visual artist and an Assistant professor of Photography at Pace University. Fred Ritchin is Dean of the International Center of Photography (ICP) School. In 2017 he received the John Long Ethics Award from the National Press Photographers Association. Carol Becker is a writer and the Dean of Faculty and Professor of the Arts at Columbia University School of the Arts. Maurice Emerson Decaul is a former Marine, is a poet, essayist, and playwright, whose writing has been featured in the New York Times, The Daily Beast, Sierra Magazine, Epiphany and others. Stephen Mayes is the Executive Director of the Tim Hetherington Trust and former VII Photo CEO.

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Dammed follows the roughly 1,450-mile main stem of the Colorado River, from birth in the Rocky Mountain National Park to its end at the border of Mexico, and the 16 dams and diversions along its course.  The work documents the river, dams, reservoirs, and people interacting with the river along this route. The intent of this environmental photography project is to bring attention to the increasingly arid conditions of the Colorado River basin, but also prompts discussion and learning about not only the Colorado River watershed, but of water supply in general.

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Dreaming California spans twelve years of color photographs made in Southern California and is the sequel to Susan Ressler's 2018 monograph Executive Order: Images of 1970s Corporate America (Daylight, 2018). Once again, Ressler is looking at power relationships: the haves and have nots, political unrest, injustice and inequity; not only in the Golden State (California) but the US, and by implication, the world at large.

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Prophetic Kingdom is an ongoing photographic investigation exploring scenes of the everyday and overlooked. The images give an allegorical nod towards a prophesied postlapsarian world.

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The Holocaust as history ended seventy-five years ago, about the span of a full human life; the Holocaust as culture is very much of the present, its meanings and lessons still actively in formation. For twenty-five years, Jason Francisco has wrestled with the afterlife of the genocide, creating a large number of photoworks and essays, including extensive work with the Galicia Jewish Museum in Kraków, Poland. At the center of his work work has been his long-term project Alive and Destroyed: A Meditation on the Holocaust in Time, begun in 2010. With a large format camera and antique lenses, Jason Francisco has undertaken a series of deep journeys extending from Berlin in the west to Kharkov in the east, Riga in the north to Bucharest in the south—for the sake of images that might carry the complications of remembering and forgetting in the places where the events we collectively call the Holocaust occurred. His destinations included the notorious sites of the genocide, such as Auschwitz and the ghettos of Warsaw and Łódź, which often are taken to stand for the whole. And has made his way to hundreds of small, often remote concentrationary sites in Poland, Ukraine, Moldova, Belarus, Lithuania, Latvia, Russia, Hungary and Slovakia—massacre sites in forests, fields, riverbanks and cemeteries, deportation routes, subcamps, labor camps, transit camps, short-term ghettoes, escape routes, hiding places, not to mention countless sites of erstwhile Jewish life and civilization, some intact, more in ruins, vastly more in states of nothingness. Jason Francisco's decentralized approach follows recent scholarship, which has identified more than 42,500 locations in Nazi-occupied Europe where the Holocaust was perpetrated: venturing into the physical geography of the genocide venturing into the territory of remembrance and forgetting, and search for an image form that might carry register what he found and felt. In its method and form, Alive and Destroyed is an unconventional work of witness. Documentary in spirit and conceptualist in method, it does not use photography to “capture” the worlds that the Holocaust left behind—to use the most common metaphor for the photographic act, itself reflecting a carceral understanding of photography as a medium. Rather Alive and Destroyed draws on the capacities of photography to test and redefine what we mean by presence and absence in memory and imagination. The photographs in Alive and Destroyed set out to release—to uncapture—the volatile mixture of incomprehension, argument, reclamation and loss that constitute the Holocaust as an inheritance for the living. Beyond being representations of sites in the world the Holocaust left behind, the images in Alive and Destroyed are themselves primary sites of meditation and mourning.

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Drawing upon Robin Dahlberg’s own experiences as a junior lawyer at a large corporate law firm, Billable Hours in 6 Minute Increments explores the obstacles facing women in the corporate workplace. With a sense of the absurd that Dahlberg only discovered in hindsight, she examines how women lawyers respond to the sexism, pressure to conform, tedium and stress that defined her daily life at the law firm and that continue to define the corporate work environment today.

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The Light at the End of History: Reacting to Nuclear Impact presents photographs from artist Abbey Hepner’s decade-long examination of nuclear energy, the atomic bomb, and radioactive waste. By capturing distinct marks in time, Hepner makes visible the ongoing, often invisible, relationships with nuclear technologies.

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The rural south is a region in which every part of the past is very much its present. Peter Stitt’s collection of photographs are an expressive study of a landscape that can be, at times, both particularly straightforward and subtly peculiar. Each image is a contemporary representation of a memory, a feeling, or a meditation on the small towns of the rural South.

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Hong Kong based artist Ted Lau was always curious about North Korea having grown up seeing constant headlines about missile tests and nuclear weapons. It was after seeing Andreas Gursky’s work in North Korea that he decided one day he had to visit the country. In 2019, an opportunity arose and he embarked on an exploratory journey to see what life was really like in this mysterious place. The results of his travels are captured in a new book peering behind the veil of the secretive country of North Korea.

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Several years ago, Debbie Bentley visited the Salton Sea for the first time. The area was an oddity, full of dilapidated houses, rotting fish, and horrible smells. In spite of this, she found the lake itself beautiful, vast, and haunting. Such a dangerous beauty. Even though large amounts of the playa are currently exposed, the Salton Sea is still so large that from some vantage points, the earth’s curvature hides the opposite shore. Currently the dust from the playa fills the air and causes health issues and crop damage – more exposed lakebed is certainly a public health crisis in the making. At the end of 2017, California mandated water transfers to the Sea ended. From this point forward, playa exposure will increase at an accelerated rate. This body of work is a portrait of the Salton Sea in 2018. The lake will never be as it was at that moment in time, nor will the remediation efforts woefully behind schedule to deal with the increasing dust.

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The Photographs in Silent Stages are platforms specifically built as settings for narratives; they are akin to theatrical stages or movie sets. At the same time, they are artifacts from various stages of my life, visual traces of the sedimentary layers that have quietly accumulated over time, each atop its predecessors. As stage or movie settings, these images aim to spark viewers’ imagination, to spur them to conjure up a story, a narrative laced with mystery and alienation. That’s why I make the lighting dramatic, why I shoot in black and white, why some elements may be too dark and/or fuzzy to see clearly. I generally start with the background, searching the streets for a suitably dramatic setting. Then I wait for something to happen, perhaps for players to enter or exit. Sometimes I arrive too late; the last player has exited. As artifacts from my own story, the images give voice and body to times, experiences and feelings I hardly knew subsisted within me. It was only years after the project was undertaken that I began to understand how the choices I make – of subjects, settings, lighting, composition – reflect the particularities of my life and sensibility. In this sense, these images are relics from a personal archeological dig, a visual memoir of sorts -- an unsurprising undertaking perhaps for a septuagenarian. All of the images were shot over the past five years, either in or around New York or Paris. This reflects the dual nature of my life and culture, split between my native home and my adopted one. I have spent half of my adult life in France and identify as both French and American. My objective is not to highlight the Franco-American split but rather to demonstrate the parallels and how they compose into a single identity.

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A retrospective of Phil Bergerson’s career. The first section’s, extensive essay addresses his student days, early teaching and organizing years and his various photographic projects (1967-1989). The second part deals with Bergerson’s pursuit of the human condition found within the American Social landscape. It begins with an historically contextualizing essay, followed by a sequence created from selections from Bergerson’s first two books on America. This is followed by Bergerson’s most recent photographs accompanied by a critical essay.

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While Peru's landscape is often celebrated for its rich history, the series Fatherland shifts this perception and offers a counter narrative, exposing viewers to the scars born from decades of a relentless epidemic of hate. Through extensive research from within the gay and transgender communities, we document the sites of hate crimes throughout Peru’s cities, deserts, the Andes, and deep within the jungles of the Amazon. Although no assailant is shown, the series underscores the dangerous effects of patriarchy and intolerance, and examines how these constructs create the toxic environments that lend little worth to LGBTQ lives. Each image stands as a denouncement of the blatant disregard for non- conforming lifestyles that challenge the agendas of religious and political leaders who continue to enable the cycle of violence by intentionally oppressing the LGBTQ community or dismissing and ignoring their needs. Due to the extremely violent nature of these assaults, we believe the energy of those whose lives have been taken remain at these locations - and the brutality of each event has scarred the land. For Peruvian audiences, these terse accounts of brutality place an unsettling mirror reflecting the dark underbelly of their own culture. For the rest of the world, the photographs serve to unmask a prevailing apathy toward the social injustices and everyday struggle for safety and survival that many LGBTQ-identifying populations endure. It is common for Peru’s victims of homophobic and transphobic persecution to have their stories absent from public record and delegated to anecdotal remembrance. Fatherland seeks to mitigate this void. To that end, each image is captioned with the name of the victim, their age, and the year, location, and nature of the assault. The series began in 2014 and is ongoing.

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Executive Order is a trenchant look at corporate America, featuring portraits and office interiors shot during the 1970s in Los Angeles and the Mountain West. A daring critique of wealth and power, Ressler wields photography with humor and insight, and her work is especially relevant today. Susan Ressler is an internationally renowned photographer, author and educator. An NEA fellow, her work is in the Smithsonian American Art Museum and the Library Archives of Canada, among other important collections. Mark Rice is an award-winning author and the founding chair of the American Studies Department at St. John Fisher College near Rochester, New York.

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Dear Shirley is a first-person saga of love and loss captured over more than four decades. The photographs and text contained in this diaristic account take an unflinching look at the dissolution of two marriages: Schuman’s marriage of 10 years to Jeremy, and of 27 years to Susan. Hinda Schuman an international award-winning photographer was a staff photographer at the Philadelphia Inquirer for twenty years Magdelena Solé is an award-winning social documentary photographer who also works on films Sunil Gupta is a photographer, artist, educator and curator focused on independent photography as a critical practice for documenting race, migration and queer issues.

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The portraits in Skaters compel the subject, the photographer, and the viewer to slow down. These images, created with wet plate collodion, offer an honest glimpse into the skateboarders' core being: pensive, tough, playful, anxious, distracted, and innocent. Even the plates of seemingly empty skate parks are in fact teeming with immense energy and motion, yet the skaters are moving too quickly to be captured with long exposures. Jenny Sampson earned a BA in Psychobiology at Pitzer College and has since dedicated her time to her photographic endeavors: wet plate collodion, traditional black and white photography, and commissioned portraits.

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Beach Lovers is a series of intimate moments shared by couples at the beaches of NYC. These moments hold intimate gestures of couples; some tender, rubbing sunscreen on a partner's back; others lustful, a deep kiss in the water. Being amongst the waves and sand emboldens couples to enjoy more affectionate freedom, their inhibitions less hidden than anywhere else observed in the city. Beach Lovers is about the public display of intimacy between couples from diverse backgrounds, a claiming of public space for private tenderness.

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I Burn But I Am Not Consumed brings together photographs and an archive collated by photographer Alicia Bruce and the residents of Menie, Scotland. The project documents sixteen years of Donald Trump’s impact on the coastal Scottish community from 2006 until present day.

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Winter gives a glimpse into the earliest traces of winter, the height of the snow season, and the melt time within the western Great Basin region. Devoid of people and interiors, Winter provides seemingly calm and quiet photographs of the reality of winter on a modern day frontier.

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The Poetry of Being expresses the photographers response to the fragility and perseverance of nature. Images of what was, things still hanging on, the effects of climate change, and the cycle of life make up this ever relevant monograph. The included platinum palladium prints evoke a sense of beauty in their darkness, underscoring the importance of life around us.

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Hinda Schuman documents life after prison for two women, Linda and Concetta. Done Doing Time illuminates their courage and determination to walk past the dealers, to re-unite with family to overcome the obstacles stacked against them. As Concetta and Linda work towards their individual goals, they have welcomed Schuman into their homes, shared their lives and their extended families. Both women have faced real tragedy and upheaval, but remain true to their own hearts.

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Photographer Ed Hotchkiss traveled to neighborhoods from the north Bronx to Rockaway; from the teeming center of Queens to the western edge of midtown. This unexpected odyssey resulted in a group of photographs that reveals the true humanity on the NYC subway.

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For years Northern New Mexico’s dominant Hispanic population has erected powerful and poignant descansos or roadside memorials to remember family and friends killed in automobile accidents. Mortal Highway offers an intimate view in photographs and verse into the lives of families who find expression of their grief in these increasingly elaborate works of art. The photographs bring into focus details of the descansos and anchor the memorials in the physical context of the dramatic high desert landscape of the Southwest.

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A look at lives and landscapes bearing secrets and scars of the atomic/nuclear era, Hanford Reach is a reflection upon the complexity of individual and collective memory, and upon the enduring nature of denial. Excerpts from original first-person narratives are interspersed with photographs taken in and around Hanford Nuclear Reservation, some within territories long removed from public access. Source interviews include Hanford scientists, Native elders, displaced farmers, and others variously impacted. Art intertwines with cultural documentary and political history.

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In stark contrast, the photographs in Volume II (subtitled The Present) were taken over a period of seven years and concern the area that I now call home: a rugged and remote location on the western edge of the Great Basin. Again it is centered primarily upon Winter (as in the first volume), but the imagery is broader in scope and describes more of a seasonal arc - from the late dry season, when the cows come in from their high desert grazing allotments, when fire danger is at its peak and there are fresh burn scars, up through the deep Winter and then on into the thaw/melt period.

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Olde Kensington, a small neighborhood just north of Center City Philadelphia, was predominantly a post-industrial area when I moved in, yet ominous signs of imminent change seemed to indicate that the fate of the place rested in other hands. Muddling my way through the unfamiliar streets on foot, the city seemed to push and pull me in this direction or that one, like it was leading me somewhere. Sometimes I resisted, others I followed, but I never caught a glimpse of my secret guide, who insisted on remaining shrouded in the empty spaces of the city. As a record of these ambulations, this work limns the tension between the extant and the imminent, the intervalic experience of living in a city in flux, and a complicated relationship to place.

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Fauxliage documents the proliferation of disguised cell phone towers in the American West. For me, the fake foliage of the trees draws more attention than camouflage. The often-farcical tower disguises belie the equipment's covert ability to collect all the phone calls and digital information passing through them, to be bought and sold by advertisers and stored by the government. From the very start, cell towers were considered eyesores. Plastic leaves were attached in an attempt to hide the visual pollution. Over time, the disguises evolved from primitive palms and evergreens into more elaborate costumes. The towers now masquerade as flagpoles, crosses, water towers, and cacti. Today, as our demand for five bars of connectivity continues to increase, the charade still persists. I was initially drawn to the towers’ whimsical appearances. The more I photographed, the more disconcerted I felt that technology was clandestinely modifying our environment. I explore how this manufactured nature is imposing a contrived aesthetic in our neighborhoods. My photographs expose the towers’ idiosyncratic disguises, highlight the variety of forms, and show how ubiquitous they are in our daily lives. Their appearance is now an inescapable part of the iconic western road trip and the eight states that I visited for this project. As the fifth generation (5G) of cellular technology continues to roll out, the cell tower terrain will be changing. 5G utilizes smaller equipment that is easier to hide – think fat streetlight poles. Perhaps elaborately disguised “fauxliage” towers will start disappearing and be considered an anachronism of the early 21st century. The decorated towers could join drive-up photo kiosks, phone booths, newsstands, and drive-in movie theaters as architectural relics of the past.

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The photographs in Home Fires, Volume I: The Past were taken during the height of a crippling drought in the state of California. Bruce Haley, known for his hard-hitting war and documentary work, turns his camera homeward, to the agriculture-rich San Joaquin Valley where he spent his childhood. The resulting images, haunting and melancholy, play out against the larger framework of contentious water politics and land use issues. The writer Kirsten Rian provides the accompanying text.

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American Psyche: The Unlit Cave is a collection of images made in the United States from 2004 to 2019. The photographs are visual metaphors mirroring the artist’s reactions to America’s colonialism and its inability to live up to its ideals. Heavily influenced by Carl Jung’s concepts of synchronicity and the unconscious, it uses American symbols to create a unique record of our current moment.

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Since moving to New York from Kuwait City Maha Alasaker learned that the everyday American has no conception of what daily life is like for women in modern-day Kuwait. Seeking to address this, Alasaker began making portraits of women in their bedrooms and asking them about their lives. This intimate collection of environmental portraits provides a never-before-seen look at what it means to be a young woman in Kuwait.

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The American Boys project is an in-depth photographic book of young Americans across the country united through their expression of trans masculine gender identity.

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As Director of Exhibitions and Publications at the Museum of Modern Art from 1939 to 1967, Monroe Wheeler heavily influenced typography, book design, and the development of the museum exhibition catalogue. During his tenure at MoMA, Wheeler developed close relationships with many of the artists he exhibited and published. Season's Greetings is a volume of over fifty handmade art objects and limited printings that were sent to Wheeler from artists, many of whom he knew intimately, including never-before-seen work by such luminaries as Jean Cocteau, Ben Shahn, Miguel Covarrubias, Rufino Tamayo, Robert Parker, Roberto Montenegro, Herbert Bayer, and Max Weber. Essays by Allen Ellenzweig, Joseph Scott IV and Vincent Cianni establish the importance of this vast archive of art, letters, and ephemera, and highlight Wheeler's wide influence within his field. Season's Greetings is a fitting tribute to a man whose life's work centered on and celebrated fine art publications. Vincent Cianni is a documentary photographer and archivist for the Estate of Anatole Pohorilenko and the Monroe Wheeler Archive. He teaches at Parsons, The New School for Design in New York City, and has authored two books, including Gays in the Military, published by Daylight Books in 2014. Joseph Scott IV, Philadelphia, PA, became caretaker of the Manhattan apartment of Monroe Wheeler in 1990 to assist with organizing and preserving this important archive. His work continues today, as executor for Anatole Pohorienko, to help finish cataloging the remaining material for Mr. Wheeler, Glenway Wescott and George Platt Lynes. Allen Ellenzweig, New york, NY, is an arts critic and cultural commentator currently preparing a biography of twentieth-century photographer George Platt Lynes for Oxford University Press. He is a contributing writer to the Gay & Lesbian Review Worldwide and has published in Art in America, PASSION: the Magazine of Paris, Studies in Gender and Sexuality, and the online magazine Tablet. He has also published works of short fiction. His landmark 1992 illustrated history, The Homoerotic Photograph: Male Images from Durieu/Delacroix to Mapplethorpe, was reissued in paperback by Columbia University Press in 2012. He teaches in the Writing Program at Rutgers University, New Brunswick, New Jersey. He is a founding board member of The Robert Giard Foundation which offers an annual fellowship to photographers, videographers, or filmmakers.

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In 1995, photographer Heather Pillar documented Morrie Schwartz’s last six months as he came to terms with his disease, ALS. With Morrie, she created a show of 20 photographs illustrating Morrie’s aphorisms about love and loss and exhibited it at Brandeis University in September 1995 as Morrie wanted to see the exhibition before he died. Heather continued to make more images up until Morrie’s death and at his grave. In the intervening years, Morrie has become iconic largely due to the best-selling memoir, Tuesdays with Morrie, by Mitch Albom.

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Girlhood: Lost and Found explores the experience females face growing up and growing old in a world full of preconceived notions of what it means to be a woman. Lost objects coupled with intimate portraits of the artist and her daughter mirror one another, examining the desires women abandon to conform to unrealistic ideals in our culture, often losing sight of their identities as they maneuver society’s stereotypes. The discarded items offer the opportunity to reflect on what unreasonable expectations both the artist and the female collective can also leave behind, providing a chance to rediscover who they were before they learned how they were seen by the world. The book's forward is written by Elinor Carucci, a multi-award winning fine art photographer with work featured in many solo and group exhibitions and museums worldwide, as well as an impressive number of publications internationally. A group essay included in this publication shares thoughts from a variety of women ranging in age from 13-81 years old, including artist and filmmaker Laurie Simmons, renowned actor and musician Jill Hennesy, 2018 Guggenheim Fellow and educator Rania Matar, founder of wellness platform MWH Melissa Wood-Tepperberg, the artist’s daughter and son, Luna and Sergio Riva, and many more.

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