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Response to Todd Hido’s Between the Two

Response to Todd Hido’s Between the Two By Zoë Gleitsman and Akari Stimler   Hido’s Between The Two, is a beautiful collection of color and black and white photographs. His images are very quiet and subdued; there isn’t any action … Continue reading

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Response to An Imaginary Spaniard by Cristobal Hara

Response to An Imaginary Spaniard by Cristobal Hara By: Akari Stimler and Zoë Gleitsman   Cristobal Hara’s book, An Imaginary Spaniard, consists of beautifully composed color photographs taken in Spain. The title seems to perfectly describe the photographs; many of … Continue reading

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Response to High School by Jona Frank

By Zoë Gleitsman Jona Frank’s book High School is a very thorough collection of beautiful color film photographs which encompasses all different sides of the classic suburban teenager. The typical American high school is usually thought of in terms of … Continue reading

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Response to Observations in an Occupied Wilderness by Terry Falke

by Zoë Gleitsman and Akari Stimler This book contains a large collection of color film photographs taken in the late 90s-early 2000s of the American South-West. The images portray the stunning colors and unique landscapes that are common in this … Continue reading

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Black Power/Flower Power

by Zoë Gleitsman & Akari Stimler Black Power/Flower Power by Pirkle Jones and Ruth-Marion Baruch  contains photographs of both people involved and associated with the Black Panther Party and people connected to the Flower Power movement. Both groups’ ideologies contained similar ideas, skewing … Continue reading

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Teeny Academy with William Boling

William Boling joined the ICP Library  recently to share Debbie Fleming Caffery’s photobook Alphabet with some of our teeniest patrons. Caffery’s book features 26 gorgeous black & white photographs from her archive. Each image broadly corresponding with letters of the alphabet. The crowd, children age 4-12 … Continue reading

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Freedom to Do and Undo: Cuba in Photo Books

The larger picture of Cuba that could be gleaned from our collection of photo books is limited by circumstances: the long-term sanctions against trade with Cuba by the United States and the cultural politics generated during the Cold War; and since the “end of history” as per Francis Fukuyama in 1989, referring to the collapse of the Soviet Union, we have to contend with the hybrid mappings of Cuba by the First World as an exotic theme park of old cars, great music, and an oppressed but sensual populace, stuck in a now impossible past.
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