Sean O'Hagan
Sean O'Hagan writes about photography for the Guardian and the Observer and is also a general feature writer. He was named interviewer of the year in the British press awards in 2003 for his profiles of footballer Roy Keane and musician Brian Wilson, among others. He is the winner of the 2011 J Dudley Johnston award from the Royal Photographic Society "for major achievement in the field of photographic criticism" for his writing in the Observer and the Guardian
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Back from the dead: the photographer turning forensics into portraitureArne Svenson spent years crossing America and Mexico photographing forensic reconstructions of anonymous victims’ faces
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Foreigner: Migration Into Europe 2015-2016 by John Radcliffe Studio – reviewThese portraits of refugees at different stages of their journey reveal a calmer human spirit amid the chaos
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Beth Orton: ‘I’ve set free another part of me’Beth Orton’s latest album is a joyously abandoned swirl of words and sounds. She talks about living in the US, being a motherless mother and letting her music ‘hang out a bit’
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Willy Vlautin: ‘I had a picture of Steinbeck and a picture of the Jam’The American musician and novelist on breaking up his acclaimed band Richmond Fontaine, and how Raymond Carver’s stories opened his eyes
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The Republic by Seamus Murphy review – a nation of many partsSeamus Murphy’s pictures of Ireland, ranging from the beautiful to the everyday and absurd, evoke a modern country that feels both strange and familiar
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An appreciation: Malick Sidibé, 1936-2016The Malian photographer Malick Sidibé, who died last week, framed the essence of his country in the decades following independence
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The last man on the moon on crash-landings, losing his wife and watching an 'Earth-rise'Propelled by rocket fuel, ego and tunnel vision, Eugene Cernan was the last man to walk on the moon. Now a new film tells his amazing story, from the crash that charred his helmet to the ‘spacewalk from hell’
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What price the Brussels airport photograph?The real test of such iconic images is whether they make us merely voyeurs or spur us to action
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One Second of Light by Giles Duley review – moments of hard truthGiles Duley captures the emotion on the faces of his traumatised subjects with an empathy few others can muster
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Has it really come to this – punk as heritage culture?Malcolm McLaren’s son is right to burn his old bondage clothes in anger at the travesty that is Punk London
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In Flagrante Two by Chris Killip review – bleakness and boredom in sharp focusChris Killip’s landmark 1988 book, now reissued, is a moving depiction of the hopelessness of life in the north-east in the Thatcher years
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The ghosts of Wounded Knee: travels through the scene of a massacreThe US cavalry killed more than 200 Native Americans at Wounded Knee in 1890. British photographer Kalpesh Lathigra met the tribal leaders, teenagers and activists living there today – and found a landscape still haunted by death
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Tokyo: the city that came out of the shadowsDaido Moriyama has spent his life obsessively photographing the dirty stairwells, neon signs and salarymen of Tokyo in gritty black and white. Now, at 77, he’s exploding into glorious colour. Why?
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Albert Oehlen: 'There's something hysterical about magenta'Albert Oehlen ran wild on the Berlin punk scene, painted only in grey, and pioneered the use of computers in art. Now’s he’s swapped youthful provocation for an outdoors life in Switzerland – but his trees still look psychopathic
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Exposed: photography's fabulous fakesPhoney engagements, flying surrealists, faux Instagram celebrities, dubious family portraits … a short history of performance photography
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Was 1966 pop music’s greatest year?Fifty years ago, Revolver (The Beatles), Blonde on Blonde (Bob Dylan) and Pet Sounds (The Beach Boys) made the LP supreme and launched an era of unparalleled creative momentum
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Road Wallah review – requiem to Mumbai’s kings of the roadStreet photographer Dougie Wallace brings his trademark raw energy to Mumbai’s taxi drivers and their beloved iconic cabs
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Contested legacy: echoes of the Easter RisingAs a child, Sean O’Hagan thought the 1916 Easter Rising was ancient history. Then came the Troubles. As the centenary looms, he reflects on how this deeply symbolic moment has reverberated through Irish lives – including his own
Les Rencontres d'Arles 2016 review – twin towers and sub-Saharan slums