Jordan Amirkhani

  • Paul Graham, Pittsburgh (detail), 2004 nine ink-jet prints, this one 30 x 40". From the series “A Shimmer Possibility,” 2004–2006.

    Paul Graham

    Paul Graham’s photography practice has long been driven by an insatiable wanderlust: He’s documented travels to Japan, throughout Europe, around his native Britain, and across the vast expanse of America. The exhibition “The Whiteness of the Whale” at the High Museum of Art homed in on Graham’s portrayals of the last. Consisting of more than forty works from Graham’s three major stateside projects—“American Night,” 1998–2002; “A Shimmer Possibility,” 2004–2006; and “The Present,” 2009–11—this show made a case for the photograph’s capacity to encourage active looking, incite empathy,

  • View of “Bettina Pousttchi: Double Monuments,” 2016. From left: Double Monument for Flavin and Tatlin VII, 2010; Double Monument for Flavin and Tatlin IX, 2013.

    Bettina Pousttchi

    Since the 2009 inauguration of its project-based series “Intersections,” under the direction of curator Vesela Sretenović, the Phillips Collection has sought to establish a meaningful dialogue between its rich holdings of modern art and the dynamic landscape of contemporary cultural production. The series’ most recent iteration, “Double Monuments,” by the Berlin-based artist Bettina Pousttchi, was a powerful demonstration of the fecund possibilities for cross-historical dialogue between artist, site, and the avant-garde legacy. For those familiar with Pousttchi’s interventions into the architectural