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And why would they support it? Evans, Adams and Mr. Frank forged great careers in black and white photography from the s to the s, breaking through the barrier of institutional art history. But a younger generation did. Color had been shunned for an entirely different reason: It was used by advertising and amateurs, a liability for a medium struggling to be accepted as art. Photojournalism and art photography were already fused in the work of figures like Henri Cartier-Bresson and Diane Arbus. Color became the new frontier. Harry Callahan, a prominent midcentury photographer, adopted color in his 60s, as Mr. The whole thing feels glaringly anachronistic in an age when feminism was on the rise.
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You can find his here: jalaltoufic. Her practice centers on the interactions of the public and the private spheres, exploring issues from everyday life and the media to war and the built environment, especially as they affect women. She aims to engage people as citizens, investigating and challenging the way power is normalized through images and discourses. She has published several books of photographs, texts, and commentary on the uses of space, ranging from airports, roads, and underground train systems to housing and gentrification. Her writing has appeared in publications such as Artforum, e-flux journal, and Texte zur Kunst. Rosler lives and works in Brooklyn.