Rapheal Begay is a "visual storyteller who uses cultural landscape photography and oral storytelling to activate, reference, and preserve memory and understanding found within the Diné way of life."
The Internal Place: The Call of New Mexico in the Works of Esteban Cabeza de Baca, Patrick Nagatani, Lucy Raven, and Richard Tuttle
Artists Patrick Nagatani, Richard Tuttle, Esteban Cabeza de Baca, and Lucy Raven attest to the nature of the poetics of place through artworks centered on the New Mexican landscape.
Emily Margarit Mason challenges the limits of the still image by placing photos into alternative settings—whether baking one into a cake or rearranging another into an abstract collage.
In So That We May Fear Not at Finch Lane, photographer Jesse Meredith documents an American militia group and illustrates contradictory narratives of maleness and patriotism.
Houston curator Suzanne Zeller uses their curatorial platform to promote underrepresented queer narratives in contemporary photography.
Military veterans' participation in a five-month workshop culminates in a public exhibition and catalogue at the Colorado Photographic Arts Center in Denver.
A retrospective of German-American female photographer Marion Palfi at the Phoenix Art Museum, the first major exhibition since her 1978 death, places her towards the top of social research photographers.
Source Material, an exhibition at the Colorado Photographic Arts Center in Denver, features eight photographic projects that engage with archival imagery.
Egypt at Santa Fe’s 5. Gallery captures the intersection of modern photography, middle-class tourism, and the allure of pharaonic monuments through the legacy of Jean Pascal Sébah.
Artist Emily Margarit Mason creates staged, surreal photographs that translate the physical world from something seen to something felt.
Artist Andrés de Varona’s photographs show his perspective on human life, addressing loss, conflict, and grief.
Shoshannah White finds inspiration in environmental science and the climate, sparked by the interaction of raw materials and the photographic process.
Artist Catie Soldan uses experimental darkroom techniques to represent the emotional qualities of nature in her fine-art photography.
Artist Tommy Bruce's many-sided art practice comments on identity construction, often through his real-life renderings of furries.
“My photos illustrate the blood pumping through Albuquerque,” Frank Blazquez told the Guardian in 2018. The portraits—largely captured along the east-west belt of Central Avenue—capture human faces, yes, but each carries a story in and of itself.
In Outside the Castle (2019), Atmus the deer sits on a lawn outside Disney’s Cinderella Castle. Atmus is a fur-suit. The person inside is Tommy Bruce. The lawn is artificial. And the castle is an image. Bruce is a furry. He goes to conventions, participates in online discussions, and documents the community. His also takes self-portraits in his fur-suit.
Wilson began CIPX in 2012 with the support of the New Mexico Museum of Art and has photographed internationally, adding to the prolific body of work. Over time, the project and Wilson’s intentions have evolved. Today, he speaks about the ritual of portraiture and questions how it fits into contemporary culture. Some traditions that were once a rite of passage for families and individuals have become part of the past.
Sama Alshaibi, a Tucson, Arizona–based photographer, is a Palestinian-Iraqi who originally came to the United States as a refugee from Iraq. Her mother’s family are also refugees from Jaffa, a historic port city that was fought over and ultimately became part of Israel in 1948. The families that lived there were forced to leave quickly, and many left behind family keepsakes such as family photo albums. Alshaibi’s family have few photographs from their time in Palestine.