“South Africa’s anti-apartheid photographers did not merely record brutality. They preserved evidence, built collective memory, and transformed the camera into a weapon of political education and international solidarity.”
“Langston Hughes’ words sent chills down my spine. It gave me the wherewithal to truly understand that fascism is not at all a foreign term, nor is it strictly related to Europe or even novel in twenty-first century American life.”
‘It’s going to be a long night,’ I said.
And it was.
“Taken together, these examples challenge the idea that the past disappears once it is no longer actively remembered. The past often remains present in quieter and less obvious ways. It stays in what is unsaid, in the places people move through, and in the physical traces of those who came before them.”
A collection of all the articles we’ve published over the past month, for those who like to savor their Magpies’ tidings as an issue.
For generations a formal portrait wasn’t a mere document but an assertion of self-hood: I’m here. Remember me.
“People ask me what camera I used. It’s not the camera. Its—.” He tapped his temple with his index finger: it’s the eye and the brain.
June ramblings.
The supernatural does not require foggy graveyards; it is closer and far more mundane. It manifests in a midnight kitchen, a crowded yet silent subway car, or a house where silence moves between rooms like an uninvited guest.
“I might add that portraiture is also a tender art. It tries to hold onto what can’t be contained, which is life itself and a clear view of it.”
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