The Lives of Images, edited by Stanley Wolukau-Wanambwa, is a set of contemporary thematic readers designed for educators, students, practicing photographers, and others interested in the ways images function within a wider set of cultural practices. The series tracks the many movements and “lives” of images—their tendency to accumulate, circulate, and transform through different geographies, cultures, processes, institutions, states, uses, and times. Volume 2 in this series, Analogy, Attunement, and Attention, addresses the com

New York, autumn 1978. Thursday evening at eight o’clock on the dot, Robert Mapplethorpe, bold and elegant in his black leather jacket, descends the stairs and makes his entrance into the main room of the notorious Mineshaft, the buzzy underground men-only club, temple and haven for every form of perversion. This is the sparkling voracious decade of gay emancipation: art and sex are closely bound together and Warhol’s prediction about everyone’s fifteen min

Tobias Zielony’s recent photo series started with a chance encounter. A conversation with a young couple on a Berlin subway train led Zielony to suggest to photograph them. At the next stop they took a few quick shots on the platform. She told him that she could always be found around here, and he could come back anytime to take more pictures. »Here?«—»I walk the street, right around the corner!« They meet aga

"I looked for common elements of the two instances of the universe and the everyday. I found objects, subjects, places that can act as a bridge between the two terms. I consciously constructed other images, with conceptual operations, to verify thought processes and find formal proofs: images that look like photographs of constellations taken from the telescope but which are actually possible events in a room Images that refer to planets shapes and surfaces but which

This publication includes contributions by artists, writers and curators who were asked to submit a text or image free of any formal provision. These contributions are presented in dialogue with Rodrigo’s drawings, stories, dreams, sketches for sculptures and collected quotes. The thread connecting these different fragments is elusive and demands a certain playful willingness from the reader. The result is a composition of words and images that explores concepts such as perception, authorship, mes