September – October 2019 About The Cover

Formed in 1963 by 11 photographers who recognized the necessity of “a forum to address the underrepresentation of African Americans in their field,” the Kamoinge Workshop gave its members a sense of solidarity and support in a period when black Americans were the frequent subject of mainstream media coverage but rarely its author.

Ruben Natal-San Miguel was on his way to Postmasters Gallery in Tribeca from his home in Harlem with the last two photographs for his exhibition Women R Beautiful when he got word that New York City’s mayor had closed all non-essential businesses to slow the spread of the coronavirus.

Melissa McGill’s Red Regatta is a warning and an elegy, a red flag raising the alarm about climate change and the perils of mass tourism, and a love letter to the city of Venice.

Blood is the first thing I see when I approach Elle Pérez’s photographs at the Whitney Biennial on a Wednesday morning at 11 am.

Zora J Murff’s series At No Point in Between is a slow burn of a project. Based in the historically Black neighborhood of North Omaha, Nebraska, his portraits, landscape images, and found photographs build upon each other to form a quietly devastating indictment of the multiple ways that violence is inflicted on Black communities.

In Deana Lawson’s 2017 photograph Nikki’s Kitchen, a woman kneels on an old wooden chair, hand under chin, staring at the camera with some defiance.

Goldberg’s Coming and Going is an autobiography in images and ephemera, and two recent books survey the work of Lee Miller and Daido Moriyama.