“It’s so difficult because it’s everywhere, every place, all the time, even right now. It’s the view of this pen in my hand as I write this, it’s an image of your hands holding this book, Drift your consciousness up and out of this text and see: it’s right there, across the room – there… […]
It’s hard for me to describe the fascination that William Eggleston’s photographs exert on me. William Eggleston: Draft of a Presentation By Thomas Weski It’s hard for me to describe the fascination that William Eggleston’s photographs exert on me. More than twenty years ago, I bought William Eggleston’s Guide, the catalogue of his solo […]
“I don’t think we need that at all, any more; we already know, to the point of ennui, what the world looks like in photographs.” Interview with Lewis Baltz: Jean-Pierre Greff and Elisabeth Milon The photographer Lewis Baltz, originally from California, has spent the past thirty years, mainly in urban and suburban surroundings, bringing […]
Albuquerque, New Mexico, 1957 “I think that those kind of distinctions and lists of titles like “street photographer” are so stupid.” From Visions and Images: American Photographers on Photography, Interviews with photographers by Barbara Diamonstein, 1981–1982, Rizoli: New York Garry Winogrand is one of the most important photographers at work in America today. His […]
It was the best of years…. Once again it is that time of year where I try to drum up some sort of edit from all of the incredible work the photography book world offers up. This year is difficult as I felt it has been one of the strongest years in recent memory […]
“Man has understood his place in the cosmogony of things by deliberating over his mortality. In fear, we build a language before we build a language from love. We leave warnings before love letters…”. Robert Fludd (1574-1637), in his assertion that the world is first born of chaos, then divination by light, spirit […]
“Reading through them, I realised that the best ones seemed to create a kind of mental-image in my mind’s eye – which due to the tone of the text often took the form of a very deadpan, monotone, and even monochrome photograph of a little scene in small-town America; I was imagining a very straightforward picture made by Walker Evans or Lee Friedlander or Diane Arbus or others, of four dogs sitting on top of a car, or a guy standing next to a tree in the middle of the afternoon with bloody knuckles…”
“The “focus” is very eclectic as are my tastes. They are always changing and have been enlarging these past years. The collection has been very contemporary-based from the start and that is still true”. -GCB
“Finally, a “Eureka Moment”- the image I “took” belongs to Martin Parr, the Godfather of Gaudy. I know this not because I have any of his books or any desire to devote much attention to his work, I know this because I have the Internet”
“You have to be prepared to look in the ‘low’ places in our visual culture as well as the ‘high’. You have to be a rag picker as much as a connoisseur”.
Bacon felt very strongly about phraseology. He erased words like ‘very, very’, or ‘well’, and ‘you see’, but added words like ‘accident’ and ‘artificial’.