In Somnyama Ngonyama, the isiZulu for “Hail the Dark Lioness,” South African artist Zanele Muholi presents a black and white series of self-portraits. I say “presents” as though Muholi made them for us and is awaiting our reaction—as so many artists do—yet, in this case, I say it with a...
"Computers can learn from examples how to recognize something. [...]This is one way that you can form the concept of an apple, although it has nothing to do with an apple. An algorithm will never bite an apple, or taste one, or pick one from a tree."—Philipp Schmitt, in our interview about his new book Computed Curation.
"I saw, in all these different practices, some kind of artistic creature who uses science but also design and technology to re-investigate the relationship with the Earth."—Ruben Jacobs, in our interview about his new book Artonauts.
The thing about being born a human is that none of us get out alive. Some of us spend our whole lives ignoring that fact, taking time like it’s on infinite tap, while others act according to their fear of death, as though certain cautious steps and right decisions could...
In her most recent photobook, Let Me Fall Again, photographer and bookmaker Julia Borissova presents a part-factual, part-imagined construction of the life of Charles Leroux, a professional jumper.
“Do you want to go to World Press Photo and feel bad about everything?” This year's World Press Photo exhibit, on display in Amsterdam until July 22, is no exception to the rule that no news is good news.
"This is the tragedy of wanting to make art out of your own life, or wanting to make your own life out of your art – there is no way out."—Antoine d'Agata, in our interview about his life and photography.
The white of a canvas invites color, to the extent that white doesn’t appear so much as a color as it does a sign of incompleteness. It serves so well as a starting point that it’s hard to remember that white is even a color. Yet, it is a color. Many, in fact.