Nan Goldin breaks the rules, but not just for the sake of doing it. Her work is rarely a direct protest against society’s norms, instead, it is a deliberate act of ignoring them. It was Nan Goldin who embraced and accepted the big art world and not vice versa. Learn more about what it is that makes Nan Goldin’s work so special and unconventional.

What Is so Special about Nan Goldin? 

For the last five decades, Nan Goldin, the American superstar of photography, has been telling her story on her own terms. A troubled drug-addicted teenager turned into one of the biggest names in contemporary art, she overcame many barriers and broke many rules, largely ignoring the idea of social expectations and norms. Her first experiments with a camera started in high school.

Growing up in a strict conservative family that was torn apart by the suicide of her elder sister, Goldin could never truly express herself. As a teenager, she was quiet but disruptive, unsure where she could channel all the energy and emotion rumbling inside her. Once she took a camera and held it in her hands, she felt like she had finally found her voice. From that moment on, photography became Goldin’s principal way of perceiving and expressing her understanding of the world.

Not an Onlooker, But an Insider 

Essentially, Goldin has always been letting her subjects be themselves to the fullest extent. Many of her friends noted that she has a unique talent for opening up one’s personality. She can dare people to act and express themselves in the most natural way possible. Goldin uses portraiture to reveal the beauty of the people she personally adores.

Soon after finishing high school, Nan Goldin’s close friend, another photographer, David Armstrong, introduced her to a community of Boston drag queens centered around the legendary club The Other Side. Goldin was completely mesmerized by the queens’ unconventional beauty and their ways of constructing their identities. She also admired the all-encompassing sense of community they shared.

The Other Side was a safe space where people could be themselves without fear or embarrassment. Soon, the artist moved in with three drag queens, documenting their daily lives and even falling in love with one of them. After moving out and enrolling in art school, she attempted to come back and shoot the queens again, but the result was disappointing. Despite still being loved by her friends, Goldin had distanced herself from them enough to diminish the tender magic of her old images.

Part of her fascination with drag queens lay in their deliberate act of stepping outside of gender barriers and norms. The artist refers to them as the real winners in the battle of the sexes since they decided to quit the fight completely instead of accepting its rules. Surprisingly, Goldin found the same rejection of these unwritten rules in the behavior of children. The artist believes that kids have not yet been spoiled by the questionable standards present in the adult world.

In many art history books, Nan Goldin is wrongly categorized as a photographer of marginalized groups of people. As an artist, she radically opposes this evaluation. Her models were never marginalized in her eyes—they were her friends, her loved ones, and the people she considered her chosen family. As a photographer, she never intruded into their personal spaces since she was also an inherent part of it.

Snapshot Style 

One of the principal technical innovations of Nan Goldin was her signature raw style. Her snapshots radically contrasted with the carefully curated images, organized compositions, and artificially constructed narratives. Goldin’s life is what inspired her artwork. Her job was to find the proper moment to capture it.

This approach brings Goldin’s work close to the realm of documentary photography. However, the artist has never aimed at any kind of objectivity when it comes to her art. Her work is a subjective and biased record of her life that no one could ever revise, erase, or make more or less compelling.

Nan Goldin’s uncompromising style influenced generations of photographers after her. These artists have not only legitimized her style but they also turned it into a trend. Moreover, her influence had seeped through into the realm of social media and popular culture. Today, even a clothing brand campaign could be shot in a nan-goldin-esque style, with the necessary omission of explicit sex, drugs, and emotional distress. The artist herself is not a fan of it, despite the all-encompassing fame the countless imitations brought her. She believes that social media and omnipresent advertisements have killed the importance and intensity of visual communication, making it almost impossible for audiences to truly engage with works of art.

Uncompromising Brutal Honesty 

One of the main aims of Goldin’s art is to minimize the distance between the photographer and the subject. Today, the concept of photographing one’s own life and presenting it to the world as a work of art feels much less absurd than in the decades preceding Goldin’s innovation. It might have all changed thanks to the determination of a single artist who decided to record her life in her own way. In a sense, self-portraiture was a way for the artist to settle into her own body and reclaim it.

In the narrative of her own life, Goldin does not shy away from showing things that are painful, disgusting, or horrifying. Her most famous work, The Ballad of Sexual Dependency, includes the story of her troubled romance with an ex-marine called Brian. The relationship was essentially destructive, comprised of co-dependency, drug addiction, and violence. During one of their numerous fights, Brian had beaten Nan so severely that she almost lost an eye and had to stitch it back into the eye socket on her own. Using photography as her principal way of expression, Goldin documented the aftermath of this incident, just like she recorded her horrific descent into drug addiction and the subsequent recovery from it. According to the artist, after getting out of rehab in the late 1980s, she made dozens of self-portraits, trying to find herself in a new sober state.

Nan Goldin’s Works Never Seem Static 

The traditional notion of photography as a medium supposes a fixed image or a series of it, which are static and self-sufficient. Many photographers aim to translate the principles of painting to the newer medium, attempting to capture a specific fleeting moment on its own. Nan Goldin’s approach goes against the grain of this traditional concept.

As an art school student, she worked in a traditional manner, spending hours in the darkroom developing her photographs. She never truly enjoyed the process, however. She found it boring, tiresome, and mostly inaccessible. She quickly found a solution and started to present her works using a slide projector. This decision allowed her to physically interact with her displayed works while changing slides in the projector. She could comment on every work, recite poetry, and even play musical records to accompany the presentations. All these aspects gave Goldin great freedom and the possibility to construct complex narratives using her works. Thus, a series of party photographs could turn into a heartbreaking story, and a group of Goldin’s Friends could become movie characters.

However, these narratives never stayed fixed or definitive. For years, Goldin rearranged her slides before each presentation. She changed music or poetic captions and added or removed certain images. The same collection of images could suddenly tell an entirely different story, with a shifted emotional undertone or a new principal character. Today, Nan Goldin prefers using digital format, yet she still makes frequent changes and additions to her work. So, if you have a chance to see Nan Goldin’s show, be aware that you are about to witness something completely unique and special.

With today being World Wildlife Day, it’s the perfect time to see the astonishing world and wildlife of Saudi Arabia like never before in the new mind-blowing three-part photobook series by renowned photographer Oliver Pilcher, forming part of Assouline’s Ultimate Collection. 

These three new visually-led coffee table photography books are dedicated to the beautiful wildlife of Saudi Arabia, with each series focusing on the wildlife of the Arabian Gulf. They are named Falcons from Saudi Arabia, Camels from Saudi Arabia and Horses from Saudi Arabia.

These luxury coffee table books pay homage to these three powerful creatures that have become synonymous with Saudi Arabian culture, and each series enables you to explore the wonders of the Arabian Gulf and its wildlife like never before.

Falcons from Saudi Arabia

This wonderful book delves into the ancient traditions of falconry in the Arabian Gulf, revealing the deep-rooted connection between falcon and falconer. 

In this richly detailed exploration, you’ll discover how falconry is more than just a hobby; it’s a cherished tradition that embodies the profound respect and admiration for these majestic birds. Through vivid storytelling and stunning imagery, the book highlights the integral role of falconry in traditional Arabic culture, offering a unique glimpse into a world where falcons reign supreme.

Camels from Saudi Arabia

This fascinating exploration of one of the most iconic creatures of the Arabian landscape – the dromedary camel. Throughout history, these majestic animals have been celebrated in poetry, art, and legends, symbolizing the rich cultural heritage of Saudi Arabia. 

This captivating book embarks you on a journey that spans centuries, bridging the gap between the past and present, as you delve into the fascinating world of camels with stunning imagery and insightful storytelling of these magnificent creatures and the enduring legacy they hold in Arabian culture.

Horses from Saudi Arabia

In the heart of Saudi Arabia, the Arabian horse has been sculpted by the land itself – its athleticism refined, its distinctive features perfected and its temperament shaped by the desert. 

Today, Saudi Arabia’s passion for all things equestrian is evident in the hosting of the world’s largest and most prestigious horse race, as well as a wealth of other valuable equine competitions and events. 

Through vivid imagery and compelling storytelling, Horses from Saudi Arabia invites you to witness the sheer beauty of these beloved animals in their natural habitat, offering a glimpse into a world where horses are treated like gods.

All three of these photobooks from Assouline capture the incredible sights and nature of the Arabian Gulf and showcase what it truly means to be Arabian.

However, for those interested in buying either one book or the whole set, your name had better start with “Sheikh”, as each volume is priced at  $1,200/ £1,000 / AU$1,200 and can be purchased at  and Assouline stores worldwide.

You might also be interested in the best books on photography, as well as the best cameras for wildlife photography and the best lenses for bird and wildlife photography.

Traveling the globe with an extraordinary condition known as aphantasia, Kate Boardman, a 36-year-old former teacher turned content creator, has lived in or visited 53 countries, capturing her experiences one photo at a time. A Massachusetts native, Boardman shares how her inability to visualize memories drives her passion for photography and content creation, all while embracing the digital nomad lifestyle. Her story illuminates the vast possibilities of remote work and the beauty of diverse cultures.

Discovering Aphantasia: A Catalyst for Adventure

Discovering she had aphantasia, a condition affecting 2% to 3% of the population, was a turning point for Boardman. This revelation explained her unique way of preserving memories through extensive photo and video collections, compensating for her inability to visualize images in her mind. Boardman’s journey into the world of travel began with a transformative trip to Mexico at 14, followed by a year-long exchange program in Germany at 15. These early experiences ignited a lifelong passion for exploring different cultures and capturing the world through her lens.

Embracing the Digital Nomad Lifestyle

Boardman’s decision to leave her cubicle job in 2009 marked the beginning of a 12-year adventure across the globe, from teaching in Thailand to living in exotic locations like Vietnam, Australia, and Guatemala. This lifestyle shift was not only about exploring new places but also about finding work opportunities as a digital nomad. Boardman’s story is a testament to the changing landscape of work and travel, where skills like yoga instruction or graphic design can open doors to new experiences worldwide, as highlighted in The Future of Remote Work While Travelling the Globe.

Challenges and Insights from a Life on the Road

While Boardman’s travels have been filled with incredible experiences, from swimming with hammerhead sharks in the Galapagos to climbing Mt. Kilimanjaro, they have not been without challenges. Instances of theft and inappropriate encounters have tested her resolve, yet her determination to explore and connect with different cultures remains unshaken. Boardman’s favorite destination, Iran, underscores her belief in the kindness of people and the distinction between governments and their citizens. Her adventures offer a fresh perspective on the diversity of human life and the beauty of our world.

As Boardman plans her move to Mexico, her journey is far from over. Through her Instagram account and digital products, she aims to inspire others to see the world not as a scary place but as a canvas of endless possibilities. Her experiences underscore the importance of embracing every moment and the beauty around us, challenges and all. Kate Boardman’s story is a powerful reminder of how travel can transform our understanding of the world and ourselves, even in the face of unique challenges like aphantasia.



Books
Photography

#horses
#Ivan McClellan
#sports

In 1982, Charles Sampson became the first Black man to win the world championship bull-riding competition. Becoming a cowboy was his childhood dream, and despite breaking nearly every bone in his body during his relatively long career, Sampson continued to climb atop the ornery animals and bolt into the arena. Even after an incredibly tough ride, he was known to vault himself off of the bull and land on his feet. He feels, to be cliché, that he was born to ride.

But there’s nothing cliché about Sampson’s story. As he writes in the introduction to the forthcoming book Eight Seconds: Black Rodeo Culture, “Every year there are fewer Black cowboys in America as the population ages, and young Black people believe the western lifestyle isn’t for them.”

Published by Damiani, Eight Seconds comprises 118 images by Ivan McClellan, a Portland, Oregon-based photographer who’s spent nearly a decade documenting the lives, wins, and losses of the Black rodeo community from Alabama to Los Angeles. He offers an insider’s view, capturing the addictive energy of the sport and the rich sense of camaraderie it fosters.

“I didn’t expect for this work to take over my life and become a passion/obsession for the better part of a decade,” McClellan tells Colossal, sharing a sentiment not unlike that of the people he photographs. “I kept going where I was useful and needed, and this book is a love letter to the culture that has transformed my life.”

Patrick Liddell, Las Vegas, Nevada

The slim volume is packed with a mix of portraits and candid, action shots that evidence the range of emotions within a single day of rodeo life. McClellan visits the teenage sensation Kortnee Solomon at her family’s ranch in Texas and a beaming rodeo queen in Okmulgee. He also photographs the Compton Cowboys, a collective devoted to bettering the lives of inner-city kids through equestrian training. “I’ve stood in front of a charging bull, walked through snake-infested fields, and laid on the ground while horses ran past me all to get a good photo,” he says. “Getting the shot is more important to me than my fear.”

McClellan self-published Eight Seconds in 2022—the title, of course, references the eight wild seconds riders must stay on their animals, one hand in the air, to score points—and the forthcoming edition adds to the original. Together, the photos unveil a firmly rooted ethos of care for both the animals and each other. “I’ve learned that Black cowboys treat you like a family member until you prove yourself unworthy of their trust. Sacrifice is required to live the cowboy lifestyle. I’ve seen cowboys go hungry so they could afford to feed their horse or get their cell phone cut off to pay for rodeo fees,” he says.

Keary Hines, Prairie View, Texas

Eight Seconds comes at a time when Black cowboys are gaining attention, in part because they counteract a White-washed historical narrative. In much of American pop culture, the term cowboy conjures an image not unlike a dusty, gun-toting Clint Eastwood in The Good, The Bad, and The Ugly. But the word itself originated as a derogatory alternative to cowhand and was often given to Black men working with cattle. After emancipation, one in four cowboys were Black.

Last spring, an exhibition at the Harwood Museum of Art in Taos opened as a corrective to the narratives that center on the White, Americana hero. Spanning pre-Civil War to the present day, the show featured McClellan’s portraits, alongside works by artists like Alexander Harrison and Otis Kwame Kye Quaicoe. And in Denver, another recent exhibition devoted itself to expanding the range of perspectives on what it means to be a cowboy.

While visually striking and exuding a warmth and comfort possible only after years of interaction, the photos are effective in part because they challenge these long-held notions about who partakes in the sport and what the rodeo lifestyle looks like in the 21st century. The photographer references the fashion choices emerging from the arena and beyond as a prime example of how Black cowboys both buck stereotypes and harness the independence associated with the archetype. He adds:

To be a Black cowboy is a defiant declaration of self. Going against conventional expectations of Black and White culture requires confidence and a sureness of one’s truth. Fashion is the most obvious way this comes to life. See cowboys riding in gold chains and Jordans, long braids and acrylic nails blends hip-hop culture and the west in interesting and surprising ways.

Eight Seconds, which is edited by Miss Rosen, is available for pre-order on Bookshop. Find a larger archive of McClellan’s work on his site and Instagram.

Marland Burke, Brandon Alexander, James Pickens Jr., Los Angeles, California

Rodeo Queen, Okmulgee, Oklahoma

Dontez & Floss, Okmulgee, Oklahoma

Jadayia Kursh, Okmulgee, Oklahoma

Bull Riders, Rosenberg, Texas

Cover of ‘Eight Seconds: Black Rodeo Culture,’ Damiani Books (2024)

#horses
#Ivan McClellan
#sports

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The remote village of Moorhaven, 15 miles east of Plymouth, is a place far removed from war. With open, barren moorland on one side and rolling countryside on the other, the surrounding landscape is scattered with wandering sheep and horses. So when a dozen Ukrainian refugees arrived there two years ago, Frankie Mills, a photojournalist at the local paper, found it hard not to pay attention. “It’s a small, tight-knit British community. The people that came were very visible.”

When Mills posted on a village Facebook forum asking to photograph some of the refugees, there was some resistance. “People thought it was really insensitive. They were very wary and sponsors saw it as their responsibility to protect their guests.”

But one person messaged to say “let’s chat”. That was Valentyna Romanchuk, who had just arrived from Kharkiv, in eastern Ukraine, a frequent target of Russian assaults. Over the space of a year and a half, Romanchuk introduced Mills to her fellow Ukrainians in the village and the nearby town of Ivybridge, communicating through translation apps. What came next was Good Evening, We Are From Ukraine, a photographic project which follows the small community of women and children as they rebuild their lives. The title, taken from the words Mills had seen printed on a young boy’s T-shirt, was a wartime slogan used across the country. She has now been shortlisted for a Sony world photography award for the series.

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More than 200,000 Ukrainians have arrived in the UK since March 2022, the first time since the second world war that the British public have welcomed refugees into their homes en masse. When the scheme was first announced, the UK was considered slow to act and there was a complex application process, but the people in Moorhaven wanted to get involved in any way they could. “It felt like a domino effect,” says Mills. “One person was up for it and suddenly everyone wanted to help.”

In many ways, this wasn’t unusual in a place like Moorhaven, which has a history of communal living. Once a hospital and now divided into individual homes set in 65 acres of landscaped grounds, it has about 440 inhabitants. “It’s a close community and there’s a feeling of people being connected there,” says Mills, who describes the old, imposing architecture as if it’s “just sticking out of Dartmoor”. Yet the project wasn’t about the landscape or the history of the area. It was the personalities and how they related to each other that made the images strong. “The better ones show people’s personal experience and their character.”

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A favourite, she says, is the tender moment between mother and daughter, Paulina and Olena. It captures Paulina as she comes out of the pantry holding two aubergines. Olena then beckons her over and wipes something from her face and their dog, who had travelled over with them, pops up from under the table. “I like that connection between them. It showed how important those gestures can be when you’re going through something as big as this.”

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For Romanchuk, being part of the series felt like an escape. There were countless day trips, walks on the moors and ice-cream stops. “We spent many wonderful hours surrounded by nature in the reserve,” she says. “I often remember funny incidents and conversations, and think that this project was like a small, new and happy life, which helped us forget about all the horrors that we left in Ukraine.” For Tetyana Volodymyrivna Drobot (Tania), a maths teacher, who was suffering from long Covid and had left behind her husband and two sons, it was a reminder of her old life. She’d always loved taking pictures and being in them.

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The group shot of Olena, Paulina, Valentyna and Valeria sitting on the moor, with Tania kneeling standing to take a selfie, makes her laugh. “I love it,” says Mills. “It was at the end of their first summer in the UK. Tania’s sense of humour has been unwavering throughout.”

For nearly two years, Ukrainian could be heard from playgrounds, blue and yellow flags hung from homes in the village, and Ukrainian Independence Day was celebrated annually. Drobot’s hosts, Fiona and David, introduced her to their friends, family and grandchildren. Romanchuk speaks fondly of barbecues and parties, which reminded her of picnics at home. Many in the community helped with shopping, doctor’s appointments and lifts. “I made true friends,” she says. “I understood that I needed to change my old habits and start getting used to life in England. I wanted people to accept me as a person.”

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There were, of course, tensions at times. Some relationships turned sour and broke down, others ended abruptly. While many people are rebuilding their lives to remain in the UK, others, especially the younger ones, are considering returning home. Two years on, Romanchuk lives in Plymouth. Her English is improving, she is working as a volunteer and singing in a Ukrainian choir. For now, only Drobot remains living in Moorhaven. With no end in sight and national interest fading, she thinks the world is tired of what is happening in Ukraine. She doesn’t know what the future has in store, but she’s learning the language and feeling positive. “I think I can handle it. The main thing is that there is no war.”

Whatever the outcome, the project highlights the universal need to feel like you’re at home somewhere and have a sense of purpose. “Even when both sides don’t share a language and have wildly different histories, there was still that sense of relatability,” says Mills. “This was their home too.”

• Dr Rowan Williams admitted vicars can be ‘over controlling’ with photographers
• But also argued it is ‘not unreasonable’ to ask for respect of the spiritual service

By Natasha Anderson

Published: 04:08 EST, 3 March 2024 | Updated: 04:40 EST, 3 March 2024

Vicars can be ‘complete pain’ and ‘over controlling’ with photographers trying to snap pictures during a wedding, an ex-Archbishop of Canterbury has admitted.

Dr Rowan Williams, who served as the officiant for the Prince and Princess of Wales, argued that while some clergy get frustrated with intrusive photographers, it is ‘not unreasonable’ to ask cameramen to the respect the spirituality of matrimony.

‘The event isn’t staged just as a spectacle to be filmed, but as a personal encounter of a couple with God,’ Dr Williams, 73, told The Sunday Times. ‘So there are indeed two sides to this.’

His remarks come amid tensions between wedding photographers and clergy, with more than 900 snappers last week having signed a petition calling for church leaders to be more considerate.

The photographers claim it is becoming almost impossible to take pictures inside churches due to the ‘aggressive, rude and humiliating’ behaviour of members of the clergy.

Some of the alleged ‘rude behaviours’ include vicars halting the ceremony, intentionally obscuring the couple or exiling photographers altogether.

The former Archbishop acknowledged that the actions of some clergy can be irritating, but also reiterated that there are ‘two sides’ to this debate.

‘While some vicars can be a complete pain and over controlling to a degree, clergy too need to be able to do their jobs,’ Dr Williams told the newspaper. 

‘A request not to be intrusive during a service when something significant is supposed to be taking place at the spiritual level is not unreasonable.’ 

He reminds photographers that marriage is meant to be a ‘spiritual’ ceremony and should be respected as such.

But photographers claim they are only trying to honour couples’ wishes, noting that images of that first special first kiss are treasured.

Snappers are asking to have ‘some kind of collaborative effort’, said Birmingham-based photographer Mike Horton, who now longer shoots church weddings because ‘I just don’t want the hassle’.

Similarly, Jade Eleanor, a photographer from Surrey, said the ‘power struggle’ between snappers and vicars is ‘really awkward’ and ‘not fair on the couple’.

The petition was started by photographer Rachel Roberts, from Lincoln, who said a conversation between wedding photographers and church leaders was needed to address the situation for the benefit of marrying couples.

She said couples were increasingly choosing not to wed in church while photographers were avoiding taking work in churches because of the problems they face.

Mrs Roberts, 37, told the Daily Mail last week that while photographers acknowledge that the service is a solemn occasion and take steps to be discreet, they’re often subject to strict rules which make their job more difficult, with some ministers being openly hostile towards them.

The photographer said couples were also frequently finding out on the day of their wedding that they can’t have pictures inside the church at all leaving them devastated.

She added that she felt many church leaders were ‘stuck in the past’ and that those who embraced photography and social media had waiting lists for weddings.

Mrs Roberts hoped the petition would help make ‘positive change’ adding: ‘Ultimately, we all want the same thing which is to deliver lovely results for the couple’.

While it is at the priest’s or vicar’s discretion on what photographs can be taken at each church, many refuse to allow them during the ceremony at all. Others permit only one picture or photos only during the signing of the register.

The Church of England has said that it worked with professional photographers to produce guidance for couples. 

A spokesman previously told the Mail: ‘Photography is an important part of the day… Good early communication between the couple, the officiant and the photographer can help to ensure that expectations are aligned, and we advise that couples discuss these matters in advance with their church, so they know what to expect.’

MailOnline has approached the Church of England and the Catholic Church for comment. 

On the remote island of Adak, nestled in the Bering Sea, an unexpected relic of the 1990s survives, frozen in time. Photographer Chris Luckhardt, known for documenting deserted places, stumbled upon an abandoned McDonald’s, providing a rare glimpse into the fast-food giant’s past presence in this isolated location. This discovery has sparked interest, highlighting disparities in prices and the evolution of menu items over decades.

A Blast from the Past

Adak Island, once bustling with military activity, is now a quiet, largely deserted landscape. Its McDonald’s, closed and forgotten since the early ’90s, serves as a peculiar time capsule. Luckhardt’s exploration brought to light the untouched menu of the era, featuring items such as ‘dino-size fries’ and Happy Meal toys from the animated series ‘Bobby’s World.’ The prices, startlingly low by today’s standards, with a Big Mac meal costing significantly less than its current price of up to $18 in some locations, underscore the shifts in economic landscapes and consumer habits over the years.

Reflections on Consumer Culture

The visuals captured by Luckhardt do more than just evoke nostalgia; they prompt reflections on inflation, the changing fast-food industry, and the broader implications of these shifts for consumer culture. The stark contrast between the pricing then and now, often referred to as ‘foodflation,’ illustrates the economic changes that have occurred over the last three decades. Moreover, the presence of such an establishment on a remote military base highlights McDonald’s once expansive reach, underscoring the brand’s global influence and its role in American cultural export.

Preserving Memories through Photography

Chris Luckhardt’s work in documenting abandoned sites like the McDonald’s on Adak Island serves a dual purpose. It preserves a piece of history that might otherwise be forgotten and fosters discussion on the impermanence of human endeavors and the shifting sands of consumer preferences. His photographs offer a window into a past era, inviting viewers to ponder the transient nature of businesses and the spaces they occupy. This unique intersection of history, economics, and art resonates with a wide audience, bridging gaps between generations and geographies.

The discovery of the abandoned McDonald’s on Adak Island by Chris Luckhardt not only captivates those with a penchant for nostalgia but also serves as a poignant reminder of the passage of time and the inevitable changes it brings. As Luckhardt’s images circulate, they invite us to reflect on our own places in the continuum of history and the legacies we leave behind. This exploration of a deserted fast-food outlet, seemingly trivial at first glance, thus becomes a mirror reflecting larger societal and economic shifts over the decades, encouraging a deeper contemplation of our evolving world.

The shared secret of after-hours love is one of the hardest things to capture with a camera. The Swedish photographer Christer Strömholm was a master of this kind of unaffected moment. After dramatic war years fighting with the resistance in Norway, he had settled in Paris and become a fixture in its cafe society in the 1950s and 1960s. For several years he spent his nights photographing transgender people in Pigalle for a series of pictures, Les Amies de Place Blanche. Often he would end up in Latin Quarter cafes, still with his Leica to hand. This picture was taken in La Methode, a bar famous at the time for its all-night opening hours, and a cast of regulars that included students from the nearby Sorbonne and artists and writers. Serge Gainsbourg was an inevitable habitué.

This picture of young lovers taken in 1960 seems to demand a Gainsbourg backing track, perhaps L’Eau à la bouche – “listen to my beating heart, let yourself be” – which was a hit that year. The couple are adrift and alone together among the drinkers we see in the mirror behind them. Their world seems to have narrowed happily to contemplation of the reflection of the glasses on the tabletop – in contrast to the blurred stare of the man in the mirror, a momentary voyeur, like the photographer himself.

Strömholm died in 2002, aged 83. He was married four times. A new retrospective book of his work includes an interview with Anders Petersen, one of many younger Swedish photographers whom Strömholm taught and mentored, and who went on to create perhaps the definitive book of cafe pictures in Hamburg’s Reeperbahn in the late 60s. Asked about what he learned from Strömholm, Petersen says, “Photographers are lonely, but the realisation that you have shared this loneliness with others gives a very warm feeling of kinship”.

• Christer Strömholm is published by Dewi Lewis (£48)

The much-anticipated exhibition ‘Seen & Unseen: Photographs by Imogen Cunningham’ has officially opened its doors at Reynolda House, welcoming art enthusiasts to a diverse display of both iconic and rarely seen works by the acclaimed photographer. Running through June 2, this exhibition is a prime opportunity for visitors to delve into the historical and artistic significance of Cunningham’s contributions to photography.

Exploring the Depths of Cunningham’s Portfolio

Imogen Cunningham, renowned for her pivotal role in the American photography movement, has left behind a legacy that spans several decades. The exhibition, organized by the Imogen Cunningham Trust in association with Photographic Traveling Exhibitions, Los Angeles, CA, showcases a broad spectrum of her work, including mesmerizing portraits of Martha Graham and the delicate intricacies of Magnolia Blossom. This event not only highlights Cunningham’s mastery over the silver gelatin print but also her experimental spirit and relentless pursuit of capturing the essence of her subjects.

Engaging Events and Learning Opportunities

Complementing the exhibition, Reynolda House has organized a series of events aimed at deepening visitors’ understanding and appreciation of Cunningham’s work and the broader context of American photography. Highlights include ‘Drinks Dusk’ on March 6, an evening filled with music, drinks, and art, and the ‘Gallery Talk: Group f/64’ on March 27, offering insights into the pioneering collection of American photographers, including Ansel Adams alongside Cunningham. These events, along with free admission days and interactive sessions, ensure that visitors of all ages have a rich, engaging experience.

Support and Sponsorship

The exhibition’s success is notably supported by major sponsors including Phoenix Packaging, Inc., highlighting the community and corporate backing for enriching cultural and artistic endeavors. This partnership underscores the importance of collaborative efforts in bringing historical and artistic exhibitions to the public, allowing a wider audience to access and appreciate the fine arts.

As the exhibition ‘Seen & Unseen: Photographs by Imogen Cunningham’ continues to attract visitors at Reynolda House, it serves as a testament to Cunningham’s enduring influence on the world of photography. The carefully curated selection of photographs invites viewers on a journey through time, emotion, and beauty, offering a unique glimpse into the life and work of one of America’s most revered photographers. With its blend of educational and engaging events, the exhibition promises to be a profound experience for all who attend, leaving a lasting impression of Cunningham’s artistic vision and legacy.