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Truth in Photography
This online editorial provides an open-ended forum for photographers and critics to discuss issues surrounding imagemaking and honesty.
Background: Truth in Photography is an open-ended forum for active dialogue and discussion about photography and social change, exploring the issues vital to truth in imagemaking that are crucial to our world today. This interactive project questions the singular truth of photography by presenting multiple points of view featuring diverse curators, photographers, critics and historians and integrating vernacular photography, photojournalism and fine art photography. The target audience is anyone interested in the history, ethics and practices of photography.
Design core: The homepage enables access to the multiple elements of our website. The site’s main content is the quarterly edition, which appears as one long webpage. This page has different exhibitions you can access by reading in order, or you can view them directly f
Blurring the Lines
Ming Smith: An Aperture Monograph, offers a comprehensive survey of a pioneering body of work. Born in Detroit but based in New York since the early 1970s, Ming Smith was the first female African-American photographer to have her work acquired by New Yorkâs Museum of Modern Art. She has mastered a blurry, impressionistic style emulating the mixture of spontaneity and detail in the jazz music she often evokes with her images.
Raised in Columbus, Ohio, Ming Smithâs childhood unfolded in a setting very different to the Manhattan and Brooklyn streets that she made her own (this book contains a striking image of Smith as a child, on her first visit to New York in 1959, looking out of a window with innocent fascination). Shortly after settling in the city she became, in 1973, the first woman member of the Kamoinge Workshop, a collective of black photographers, which, as Yxta Maya Murray notes in one of several accompanying essays, âgathered at each other