NEW YORK, NY.- After a distinguished 36-year run, photograph magazine is closing its doors, a casualty of the lingering effects of the COVID-19 pandemic and the shifting landscape of print media. The news comes as a blow to the photography community, which has long relied on photograph as a vital resource for tracking exhibitions, discovering new talent, and engaging with critical dialogue about the medium.

In an emotional announcement, photograph’s publisher Anthony Beale, editor Jean Dykstra, and designer Fabio Cutró expressed their immense gratitude to the publication’s supporters, contributors, and staff. The small but dedicated team behind the magazine weathered numerous challenges in recent years, but ultimately, like so many other arts publications, they could not fully recover from the economic strain brought on by the pandemic.

“photograph has been a labor of love for our small and dedicated staff,” the announcement read, “but we were not able to fully recover from the challenges presented by the COVID pandemic.”

From Humble Beginnings to an Industry Staple

Founded in 1988 by Bill Mindlin, photograph magazine began as a simple listings guide to photography exhibitions in New York City, a response to the growing number of photography shows popping up across the city’s gallery circuit. What started as a mimeographed guide quickly evolved into a professionally designed and printed magazine, with a digital publication and weekly newsletter that reached a wide audience of collectors, curators, dealers, and photography enthusiasts.

Mindlin’s vision was rooted in the belief that photography deserved to be treated with the same level of critical attention and respect as painting, sculpture, and other traditional art forms. Over the years, photograph made good on that mission, offering thoughtful coverage of the photography world, from emerging photographers and groundbreaking exhibitions to interviews with industry luminaries.

A Community of Contributors

Throughout its run, photograph magazine featured the work of countless photographers, curators, dealers, and publishers. It also became a platform for some of the most respected voices in art criticism. The list of contributors reads like a who’s who of contemporary photography criticism: Vince Aletti, Lyle Rexer, Elisabeth Biondi, and Sarah Schmerler were longstanding writers for the magazine, while frequent contributors included Sarah Boxer, Stephanie Cash, and Mark Alice Durant, among many others.

These writers brought a depth of knowledge and critical insight to the pages of photograph, helping to elevate the medium in the eyes of both art professionals and the public. Their work explored the evolving practice of photography in an era of rapid technological change, and photograph itself adapted to the times by expanding its online presence and embracing digital formats alongside its print edition.

Jean Dykstra, the editor of photograph, guided the magazine through these transitions, ensuring that it remained a relevant and essential voice in the art world. Dykstra’s editorial vision helped shape photograph into a publication that balanced coverage of major exhibitions and established photographers with a commitment to highlighting emerging voices and lesser-known talents.

The Impact of COVID-19 on the Arts and Print Media

The COVID-19 pandemic forced many art institutions and galleries to shut their doors temporarily, leading to an unprecedented disruption in the exhibition schedule. photograph, like many other arts publications, saw its revenue from advertisers—museums, galleries, auction houses, and private dealers—dwindle as these institutions struggled to stay afloat.

In their farewell message, Beale, Dykstra, and Cutró acknowledged the role these advertisers played in supporting photograph over the years, expressing their appreciation for their ongoing partnerships. But the economic challenges proved insurmountable, and despite efforts to adapt, photograph ultimately could not survive the financial aftershocks of the pandemic.

This story of a beloved arts publication succumbing to financial pressures is one that has played out across the media landscape in recent years. Print magazines, particularly those in niche markets like photography, have struggled to compete with the immediacy and accessibility of online content. For photograph, which was deeply embedded in the art world’s print tradition, the transition to a fully digital format was a difficult one.

A Legacy of Excellence

Despite its closure, photograph leaves behind a remarkable legacy. Over the years, the magazine was responsible for bringing attention to countless talented photographers and curators, many of whom have gone on to become influential figures in the art world. Its pages were filled with critical essays, in-depth interviews, and insightful reviews that helped shape the discourse around photography as a fine art.

Contributors like Jason Foumberg, Stephen Frailey, Glen Helfand, and Jordan G. Teicher consistently provided readers with thoughtful commentary on the state of contemporary photography, while Catherine Wagley, Jake Romm, and Leah Ollman brought fresh perspectives to emerging trends. Their collective voices created a rich tapestry of ideas that informed the broader conversation about the medium.

The magazine’s impact extended beyond its pages as well. The photograph team worked closely with institutions to foster a sense of community within the photography world. From its partnerships with museums and galleries to its collaborations with nonprofit organizations, photograph was a unifying force in a diverse and ever-evolving field.

Farewell to a Beloved Institution

In their closing message, Beale, Dykstra, and Cutró paid tribute to the many talented and dedicated employees who helped bring photograph to life. From founding editor Ava C. Swartz to long-term team members like Giada De Agostinis and John Figueroa, the magazine was built on the hard work of individuals who shared a passion for photography and a commitment to excellence.

The trio also expressed gratitude to the many institutions that supported photograph over the years, as well as to the skilled printers and digital teams that helped produce the magazine. AGW Lithography, HighRoad Press, and Meridian Printing were all instrumental in ensuring that photograph maintained its reputation for high-quality design and production, while the team at Surface Impression helped guide the magazine’s transition into the digital realm.

The closure of photograph marks the end of an era for the photography community, but its influence will be felt for years to come. As one of the few dedicated photography publications to emerge in the late 20th century, it played a critical role in shaping how photography is seen, discussed, and appreciated. Its absence will leave a void, but the work it championed will continue to resonate through the photographers, curators, and writers it helped elevate.

With its final issue, photograph magazine takes a well-deserved bow, leaving behind a legacy that celebrates the artistry of photography and the vibrant community that surrounds it.


Ofelia Zurbia Betancourt is an arts and culture writer based in Austin, Texas.