Told though the hybrid means of diptychs, overlaid polaroids, archival materials, and more, Alec Kaus’s Haunts and Related Incidents creates a “nebulous yet self-contained constellation” of images inspired by the W.P.A. Georgia Writers Project collection.
In an homage to Victor Hugo Green’s The Negro Motorist Green Book—a guidebook first published in 1936 as a depository of safe spaces for African-American travelers—Sarah Hoskins set out to photograph these landmarks as they stand today.
Charles M. Lovell’s decade-long photo project traces the legendary second line parades of New Orleans.
Keith Dannemiller’s Wilson documents daily life in the small town of Wilson, North Carolina, as a means of exploring the idea of Home, that illusory place where one fully and completely belongs.
From 1830 to 1860, Richmond, Virginia, was the largest supplier of enslaved Africans on the east coast of the United States.
Novelist Patrick Wensink believes the home’s backside is where the true self is best seen—a haunting, colorful, and often humorous world that goes unnoticed, ignored.
A photography feature from our Spring 2013 issue.
The landscape photography of J Henry Fair explores the permeable boundary between unearthly beauty and unspeakable environmental destruction.
In Take Me to the River, Michael Kolster explores the Androscoggin, Schuylkill, James, and Savannah Rivers as they emerge from two centuries of industrial use and neglect.
The counterpoint between personality and place, portrait and landscape underpin much of what John Sanderson admits are travel memories of his younger days, when his vantage was from the passenger seat of his father’s pick-up.
