Ray Pride is the detached observer, the stranger on familiar ground, who prowls the local ‘hood at night shooting photographs in color–garishly illuminated back alleys, streets filled with cars flashing blinding headlights and any number of bizarre details that would arrest our attention if only we did not believe that there was any meaning to the phantasmagoria before our eyes. Have you ever been alone and detached in an unfamiliar city? Pride, who also serves as Newcity’s film editor, will stay at home yet bring you back there with all its seduction and forbidding alienation. In his banner image, Pride shows us a stop sign from above sitting isolated on a dirty street, telling us to halt the drive of personal life and look at what goes down when we have no stake in the result. We would like to make connection, but often it eludes us, and Pride shows us that we still might enjoy our distance. (Michael Weinstein)
The Roots of Pride: A Review of Jerry Pritikin at The Chicago Center for Photojournalism The show “When Then Was Now” gives a glimpse of early LGBTQ+ life in San Francisco—Harvey Milk became mayor and gay activism was gaining momentum. Pritikin, a legend of reportage, takes us back to a time before AIDS reared its ugly head and shows us how the movement looked all those decades ago.
For Us: A Review of "Something from Something" at Engage Projects Kushala Vora and Adia Sykes’ collaboration "Something from Something" tells us as viewers that knowledge, art, creation, inspiration, love—really anything you can think of—has a place of origin.
Women Behind the Lens: A Review of "From Her to Eternity" Courtney Love curates on the street. Just west of Wabash on the corner of Eighth Street, there is a wall of stellar rock star images that includes a special collection made by women photographers over the years.
Excavated Images: A Review of “Life Against Itself” at Patron For the better part of a decade, the L.A.-based artist has used a variety of bladed tools to make her signature alla prima monochromatic gestural abstractions. In the last year, however, the hand has cut off the knife.
All Too Real: A Review of “Not All Realisms” at The Smart Museum In the compelling exhibition currently on display at the Smart Museum, photographs tell the story of the sixties in Africa. It was a decade of change, resistance, revolution and hard-won independence in many African countries.
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