Maurice Berger of The New York Times on Shawn Walker's 50 year career in photography, his work with the Kamoinge Workshop and the influence music has on his work.
Holland Cotter of The New York Times names Jill Freedman: Resurrection City, 1968 one of the best art books of 2017.
Maurice Berger of the New York Times discusses Jill Freedman, the only photographer to stay and document all six weeks of the Resurrection City encampment. The photos will be on view at the Steven Kasher Gallery from October 26th to December 22nd.
Teju Cole's new essay in NYT Magazine discusses broken glass as photographic imagery and features SKG artist Brett Weston’s photographs.
Jordan Teicher interviews Debi Cornwall about her transition from civil rights lawyer to photographer, and how her former career had informed her project, Welcome to Camp America.
Vice discusses the exhibition and book,
Jill Freedman: Resurrection City, 1968, and how Freedman's documentation differed from other photographers who visited the encampment.
TIME Magazine reviews Jill Freedman: Resurrection City, 1968 and how she captured "the unheralded heroes of the movement."
Julia Griffin of PBS NewsHour in conversation with Olivia Locher on I Fought the Law. The article and video discuss Locher's creative process and beginnings of the project.
Izabela Radwanska Zhang discusses Debi Cornwall's time at Guantánamo Bay and her new book, Welcome to Camp America.
Vogue interviews Olivia Locher about her series, I Fought the Law, the subject of our fall exhibition at Steven Kasher Gallery.
Famed art critic John Yau writes an unprecedented second review of our Teju Cole exhibition, Blind Spot and Black Paper.
Artsy comments on how Olivia Locher uses the universal language of images to illustrate the absurdities within the US justice system.
Miss Rosen interviews Olivia Locher about exploring the American character and her creative process behind her series, I Fought the Law.
The New York Review of Books reviews the show Blind Spot and Black Paper at Steven Kasher Gallery, calling it "nearly perfect."
John Yau of Hyperallergic speaks of Cole's humility and ability to keep a low profile as he accesses the anonymous figures of his travels with his unique eye.
Robert Pinsky praises Teju Cole's ability to document the mysteries of the ordinary in his review of Cole's book, Blind Spot, published in conjunction with the exhibition at Steven Kasher Gallery.
Jennifer Krasinski interviews Teju Cole for the Village Voice about the book, Blind Spot.
John Otis discusses Fons Iannelli's wartime photos as well as his snapshots of family life in a post-World War II USA.
Artforum interviews Teju Cole about the motivations behind the projects Blind Spot and Black Paper, what makes them different, and how they work together in the upcoming exhibition, Blind Spot and Black Paper at Steven Kasher Gallery.
Tomas Unger praises Teju Cole's newest publication, Blind Spot.
Teju Cole shares excerpts from the photo-text book Blind Spot, published in conjunction with the exhibition at Steven Kasher Gallery.
James Estrin at The New York Times interviews Nick Nichols about his wildlife photographs and relationship with animals.