{"id":42,"date":"2018-02-08T13:16:43","date_gmt":"2018-02-08T13:16:43","guid":{"rendered":"http:\/\/benjaminyoung.info\/?page_id=42"},"modified":"2021-10-21T17:05:57","modified_gmt":"2021-10-21T21:05:57","slug":"texts","status":"publish","type":"page","link":"https:\/\/benjaminyoung.info\/texts\/","title":{"rendered":"
TEXTS<\/div>"},"content":{"rendered":"

\u201cPhotography at the Factory Gates\u201d <\/span><\/p>\n

LaToya Ruby Frazier: The Last Cruze<\/i>, exh. cat. (Chicago: Renaissance Society, 2020)<\/span><\/p>\n

\u201c\u200a\u2018Decolonize This Place\u2019\u200a: Realism and Humanism in Photography of Israel-Palestine<\/a>\u201d <\/span><\/p>\n

\u201cDisassembled” Images: Allan Sekula and Contemporary Art<\/i><\/a>, ed. Alexander Streitberger and Hilde Van Gelder (Leuven, Belgium: Leuven University Press, 2019)<\/span><\/p>\n

\u201cDocuments and Documentary: San Diego, c. 1973<\/a>\u201d <\/span><\/p>\n

The Uses of Photography: Art, Politics, and the Reinvention of a Medium<\/a><\/i>, ed. Jill Dawsey, exh. cat. (San Diego: Museum of Contemporary Art San Diego; Oakland: University of California Press, 2016)<\/span><\/p>\n

\u201cHostile Takover<\/a>\u201d Questionnaire<\/p>\n

Fear of Content, 9th Berlin Biennale, September 2016<\/p>\n

Coeditor (with Marie Muracciole), Special Issue: Allan Sekula and the Traffic in Photographs<\/a><\/span><\/p>\n

Grey Room<\/em> 55 (Spring 2014)<\/a><\/span><\/p>\n

\u201cEditors\u2019 Introduction<\/a>\u201d and \u201cArresting Figures<\/a>\u201d <\/span><\/p>\n

Special Issue: Allan Sekula and the Traffic in Photographs, <\/span>Grey Room <\/em>55 (Spring 2014)<\/span><\/p>\n

\u201cOn Strike: Allan Sekula\u2019s Waiting for Tear Gas<\/i><\/a>\u201d<\/p>\n

Sensible Politics: The Visual Culture of Nongovernmental Activism<\/em>,<\/a> ed. Yates McKee and Meg McLagan (New York: \u2028Zone Books, 2012)<\/p>\n

\u201cSeafarers All<\/a>\u201d<\/p>\n

Artforum.com, February 2012<\/p>\n

\u201cZwelethu Mthethwa<\/a>\u201d<\/span><\/p>\n

Artforum.com, September 2010<\/span><\/p>\n

\u201cOn Media and Democratic Politics: Videograms of a Revolution<\/em><\/a>\u201d<\/p>\n

Harun Farocki: Working on the Sightlines<\/a><\/em>, ed. Thomas Elsaesser (Amsterdam: Amsterdam University Press, 2004)
\nExcerpted and trans. in Multitud singular: El arte de resistir<\/em><\/a>, exh. cat. (Madrid: Museo Reina Sofia, 2010)<\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cPhotography at the Factory Gates\u201d LaToya Ruby Frazier: The Last Cruze, exh. cat. (Chicago: Renaissance Society, 2020) \u201c\u200a\u2018Decolonize This Place\u2019\u200a: Realism and Humanism in Photography of Israel-Palestine\u201d \u201cDisassembled” Images: Allan Sekula and Contemporary Art, ed. Alexander Streitberger and Hilde Van Gelder (Leuven, Belgium: Leuven University Press, 2019) \u201cDocuments and Documentary: San Diego, c. 1973\u201d The … <\/p>\n

Continue reading “<\/p>\n

TEXTS<\/div>\n

“<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/benjaminyoung.info\/wp-json\/wp\/v2\/pages\/42"}],"collection":[{"href":"https:\/\/benjaminyoung.info\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/benjaminyoung.info\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/benjaminyoung.info\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/benjaminyoung.info\/wp-json\/wp\/v2\/comments?post=42"}],"version-history":[{"count":2,"href":"https:\/\/benjaminyoung.info\/wp-json\/wp\/v2\/pages\/42\/revisions"}],"predecessor-version":[{"id":385,"href":"https:\/\/benjaminyoung.info\/wp-json\/wp\/v2\/pages\/42\/revisions\/385"}],"wp:attachment":[{"href":"https:\/\/benjaminyoung.info\/wp-json\/wp\/v2\/media?parent=42"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}