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The ambivalence many Black soldiers felt toward the United States during World War II was matched only by the ambivalence the United States demonstrated toward the principles on which the war was fought.
The strange experience of youth in Thomas Brussig’s East Germany.
Lucy Lippard is a canonical figure who held no truck with canons, who disdained art history only to become art history.
Over more than two decades, the amateur historian Reşad Ekrem Koçu led an ever-expanding project to document Istanbul’s vanishing past.
The American painter Ed Clark took his medium to its limits and back again.
Free from the Archives
This month marks the fiftieth anniversary of Susan Sontag’s essay “Photography,” which, together with five more essays that she wrote for the Review between 1973 and 1977, formed the basis of her National Book Critics Circle Award–winning book On Photography. Traversing Plato and Barthes, Daguerre and Arbus, snapshots and war photography, Sontag questioned the “fragile” ethics of a medium—and a practice—that had come to dominate modern life.
“All photographs are memento mori. To take a photograph is to participate in another person’s (or thing’s) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt.”