Nan Goldin, 'In the elevator at the Bauer, Venice, Italy', October 2013 (© Nan Goldin, courtesy Fraenkel Gallery, San Francisco) In our current, ever connected world, what we find acceptable to reveal to the outside world has changed dramatically. Much of what was considered too intimate to reveal to society in the past, photographically or otherwise, has now been put forth for any and all to see. The current shows of Nan Goldin and Peter Hujar at the Fraenkel Gallery explore

Jennah Ward, 'Pico 01', 2013; Cyanotype on watercolor paper on panel, (22 x 15 inches) (Image courtesy of George Lawson Gallery) On a serendipitous trip to George Lawson Gallery, I encountered the photographs of Jennah Ward for the first time. In a show entitled ‘pico’, Ward has taken an old photographic technology – the cyanotype – and given it new life. Most people are familiar with the cyanotype process, though they may not know it. Used for making blue (cyan) prints of ar

Paul Schiek, 'Hepburn,' 2011, chromogenic print, edition of 7 (16 x 12 inches) (Image courtesy of the Stephen Wirtz Gallery) Photography was forever changed with the introduction of cheap digital technologies that have allowed for the mass proliferation of imagery to a level never seen before. In response, various artists have either embraced or rejected these technologies in various degrees. Three current exhibitions of photography embody the various responses by artists to

The photograph is so ubiquitous in our lives that we rarely think about it much, if at all, in our daily lives. It is in everything from print advertising to every form of online media. An even more ever present fixture in our lives is the sun itself. Given these conditions, it is somewhat startling to walk into the current show, “Ride Into the Sun,” of Chris McCaw’s photographs at Stephen Wirtz Gallery, where we are treated to an innovative new way of photographing and remin