Chris Wiley

6 days ago | newyorker.com | Chris Wiley

Last year, on the occasion of Taschen’s reissue of “Workers” (originally published in 1993), I had the chance to interview Salgado over video chat. He was in Paris, sitting in his studio, with a mural-size print of one of his photographs behind him. Salgado had a smooth shaved head and wild white eyebrows. In conversation, he was charming and genial, but he is well practiced in sparring with his critics. “People criticize me that what I do is the beauty of the misery,” Salgado told me.

1 month ago | newyorker.com | Chris Wiley

In Bark’s youth, he told me, “I wanted to be a zoo designer or an Imagineer at Disneyland.” He would construct sets in his bedroom inspired by pictures in his mother’s fashion magazines. His sister served, begrudgingly, as his first model. Bark’s set-building wizardry puts him in conversation with artists such as Jeff Wall or Gregory Crewdson, whose early work shares certain tropes with Bark’s still lifes, among them dead or taxidermied animals.

Feb 15, 2025 | newyorker.com | Chris Wiley

Snowflakes provide many of us with our earliest impressions of what it means to be unique. Even within a group—the flakes so numerous as to be seemingly uncountable—no two, we were told, are exactly alike. I remember this idea blowing my mind, though in time it became a part of my mental furniture, a tidbit so foundational that it no longer wowed.

Oct 26, 2024 | aperture.org | Chris Wiley

The street and the camera were destined to collide. In retrospect, it seems obvious that the first photographs that managed to freeze objects in motion would be taken on the bustling streets of newly industrialized nineteenth-century cities.

Jul 26, 2024 | newyorker.com | Chris Wiley

Like all of Casebere’s photographs, “Stairs” was made without his ever leaving his studio. Since the nineteen-seventies, when he was an undergraduate at the Minneapolis College of Art and Design, he has been constructing ever more elaborate tabletop models of architecture and interior spaces which he transforms with the aid of his camera, lights, and, in the past decade or so, some digital tools.