Decades ago, when I wanted to be a painter and also needed a job, I thought it might be good to get some hands-on art world experience. I went to a number of galleries to inquire if there might be any positions and—in the era before MFA, museum studies, and arts administration programs made that crazily competitive—was hired by Harold Jones, the founding director of LIGHT Gallery, which had recently opened on Madison Avenue. Harold, who had spotted me looking at shows there previously, took a chance, hired me, and in ways I still marvel at, changed the course of my life. Read More
November 1 to December 15
Curator and writer Marvin Heiferman organizes visual culture projects for institutions that include the Museum of Modern Art, Smithsonian Institution, International Center of Photography, Whitney Museum of American Art, and the New Museum. Heiferman has written for The New York Times, Art in America, Artforum, and Aperture. His most recent book is Photography Changes Everything (Aperture, 2012). New entries to his Twitter project, WHY WE LOOK (@whywelook) are posted daily.
Pete Brook is a freelance writer and blogger for Prison Photography
Peter Burleigh is a lecturer at the University of Basel and the FHNW Basel
Tagsaesthetics archive authorship Batchen Benjamin Berrebi Beshty Camera Lucida Campany death digitalization digital vs analogue documentary film gaze George Baker history of photography identity Jaeggi market Marvin Heiferman medium modernist painting photojournalism politics portrait practice real realism representation reproducibility Roland Barthes science Sen social Stiegler still and moving images technology Van Gelder video Vilém Flusser Walker Evans Wilder writing