Vince Aletti

1 week ago | newyorker.com | Vince Aletti

I remember the first time I saw a physique photograph, and I remember being both excited and upset at the sight of it. I was probably eight or nine, a child of the postwar boom, and on vacation with my family at the Jersey shore. We had stopped at a convenience store on the way home from a day at the beach, and I was pawing through the store’s magazine rack while my mother shopped. I don’t remember picking up the magazine, but it opened to a page which stopped and startled me.

1 month ago | newyorker.com | Sheldon Pearce |Jane Bua |Vince Aletti |Helen Shaw

From the start, Dance Theatre of Harlem’s history has been a cycle of struggle and triumph. The dancer Arthur Mitchell founded it in 1969, in response to the assassination of Martin Luther King, Jr. The company thrived, until it didn’t, and was forced to shut down, in 2004, for almost a decade.

1 month ago | newyorker.com | Sheldon Pearce |Helen Shaw |Jane Bua |Vince Aletti

The musician Tamara Lindeman founded the Canadian folk band the Weather Station in 2006, but it could be argued that she didn’t truly find the project’s calling until 2021, with the band’s majestic album “Ignorance.” One of the best LPs of that year, the music explored our ongoing ecological emergency, mustering up personal meditations from inside the climate crisis.

2 months ago | newyorker.com | Vince Aletti |Helen Shaw |Brian Seibert |Sheldon Pearce

The International Center of Photography, founded, in 1974, by the photographer Robert Capa’s brother Cornell, was dedicated to what Cornell called “concerned photography”—the sort of engaged photojournalism practiced by Robert and his close associates Werner Bischof, Andre Kertesz, and Leonard Freed. The museum has broadened its focus considerably since then, but photojournalism, largely ignored elsewhere, continues to be its strong point.

Jun 8, 2024 | newyorker.com | Vince Aletti

Harris, who has taught in the U.S. and abroad for much of his postgrad life, can talk like an academic (“There was a desire to find that subject position . . . as well as the desire to lay claim to a space of greater visibility and agency,” he says in a collection of his work from 2017). Yet he makes art from a much knottier and more intimate place.