New York Times Review

The Flesh and the Asphalt, Both Weak
LaToya Ruby Frazier Photography at Brooklyn Museum
New York Times
Art Review

Fifth Street Tavern 2011

“Fifth Street Tavern and UPMC Braddock Hospital on Braddock Avenue” (2011)

Braddock, Pa., is about nine miles southeast of Pittsburgh, hugging the eastern bank of the Monongahela River. But in the photographs of LaToya Ruby Frazier, who grew up in this steel town, its coordinates are not so precise. Braddock is in the bodies of Ms. Frazier’s elder family members, who used to work at the local mills; it’s in the empty foundation of the hospital that used to serve them, before it was closed and demolished. It’s there in every picture Ms. Frazier has taken, and it’s here in her outstanding first New York solo show.

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In Rome Exhibition, a Poem to New York

Braddock, PA Levi BIllboard 2010

Braddock, PA Levi BIllboard 2010

Empire State
Palazzo delle Esposizioni, Rome
April 22 — July 21, 2013

NEW York’s role as the ruling city of the art world has held steady since at least the middle of the 20th century. Next month, a new exhibition about the city’s ever-growing and constantly shifting art scene is opening in the capital of a much older empire: Rome.

“Empire State,” featuring the work of more than 25 New York artists, opens in Rome’s Palazzo delle Esposizioni on April 22 and runs until July 21.

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Interview: WBAI Free Speech Radio in NYC

THE UNCRITIC REVIEW
Exhibit at the Brooklyn Museum entitled “LaToya Ruby Frazier: A Haunted Capital” —

April 21 2013
James Krivo, WBAI

 

There is an exhibit at the Brooklyn Museum entitled “LaToya Ruby Frazier: A Haunted Capital”.The exhibit will be on view until August 11 , and on June 27 at 7 PM there will be a conversation with the photographer as she recites from her written work and is joined by several special guests.

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LaToya Ruby Frazier on WBAI

American Icons: Migrant Mother

“Migrant Mother” by Dorothea Lange

American Icons: Migrant Mother
Studio 360 Radio Series
Charlie Herman
April 19, 2013

“Migrant Mother” was one of thousands of pictures Dorothea Lange took on assignment for the federal government, documenting the poverty of the Dust Bowl. Before it had that iconic title, the 1936 photo was captioned “Destitute peapickers in California.” But this was the one that stuck, coming to symbolize all those suffering in the Great Depression.
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American Icons: Migrant Mother

Kirsten O’Regan: These Dark Histories

LaToya Ruby Frazier (American, b. 1982). Self Portrait (March 10 am), 2009. Brooklyn Museum, Emily Winthrop Miles Fund, 2011.63.4. ©LaToya Ruby Frazier. Photo by LaToya Ruby Frazier.

Kirsten O’Regan: These Dark Histories
Guernica, a magazine of art & politics
April 17, 2013

LaToya Ruby Frazier does not particularly love journalists, despite the fact that her photographs perform an almost journalistic function. Over the past decade, Frazier has recorded the parallel decline of her family’s health and the unraveling social fabric of her de-industrialized hometown—enshrining the lives of those denied easy access to education, clean air, and healthcare in pristine silver gelatin prints. But telling one’s own story is very different from having it told by others, and Frazier, more than most, has a heightened sense of the importance of context.

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LaToya Ruby Frazier’s Still Hauntings

Review: LaToya Ruby Frazier’s Still Hauntings
Isaiah Matthew Wooden
Huffington Post
April 1, 2013

In 2008, photographer and media artist LaToya Ruby Frazier learned that her mother and Grandma Ruby, like many of the elder women in her hometown of Braddock, PA, had cancer. The information prompted Frazier and her mother, with whom she frequently collaborates, to begin experimenting with new approaches to chronicling the family’s illnesses (Frazier lives with lupus). These mother-daughter experiments produced Shadow (2008), one of the approximately 40 photographic works featured in the artist’s first New York solo exhibition, LaToya Ruby Frazier: A Haunted Capital, which is on view at Brooklyn Museum through August 2013.

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