The plurality of photographic practice has been an interest of the magazine from its premiere, and this fourth issue continues that theme but with a nod, so to speak, to various forms of portraiture. Daniel Weiss utilizes studio procedures to create vivid and detailed portraits. By spraying water at each individual, he seeks to undermine the pretense of much contemporary portraiture. The photographs in this portfolio reveal each participant in a particular stunned and vulnerable afterward. In another form of portraiture, Amy Adams videotapes strangers from a distance on a platform awaiting the arrival of a New York City subway car, and then prints individual frames via a paper negative. In their anonymity, the muffled faces become shrouds of urban melancholy, ashen and smudged.

In work from the 1980’s Brian Weil reinterprets documentary photography and reveals the secretive and extreme of human behavior. These aggressive and often unpleasant images challenge ethical boundaries of propriety, privacy and indignity. Again, through the format of portraiture, May Heek explores properties of photographic representation and its rendering of the world in iterations of grey. Presence and absence, and revelation and concealment, also suggest ideologically charged issues of gender and faith.

Both the history of landscape photography the history of the landscape is embraced by Lisa Elmaleh’s work. By implementing an antiquated photographic process that manifests an image using a wet glass sheet at the moment of exposure, she creates exquisitely beautiful images—both brooding and tumultuous—and that form a brittle membrane of memory. As modern as Elmaleh’s are venerable, Jessica Craig-Martin’s startling images, in which the camera’s flash operates like a scalpel, transforms privilege into an exhibitionist carnival.

I do hope you enjoy all this. See you on the 12th.

With thanks and love,