“In literature and film, the desert often serves as a topographic metaphor for interior emptiness, but the reality of this kind of aloneness goes beyond linguistic abstractions – it’s a presence, as palpable as hot sand on the skin.”
“I think what was really drawing me to Marina’s book was how it was animating this story of the mountains, their potential and actual destructive forces and how human lives are so dwarfed in the scale of that force yet so emotionally attached to life in the mountains.” – Sunil Shah
“For Levrat, the idea of heterotopia described both the site itself, and the acts of minor carnage that he carried out there – innocent and playful on the surface, but with a subtext of riotous refusal.”
“Every image poses the question of American identity not just from the standpoint of our present reality, but from the playbook of iconic images – most of them from the twentieth century – that make up the history of American photography.”
“One photographer that impressed me enormously – but it wasn’t my kind of thing at all; I didn’t really do it, but I thought it was brilliant. And also use of text. Both actually – both used text and image. It was Ed van der Elsken.” Excerpt from a tape-recorded interview with Lewis Baltz […]
“Objects are malleable things – mutely concrete, or freighted with almost unbearable significance. Watkins’ photographs share this equivocality, wavering between documents and invocations.”
“Asteroid mining might create a new Arcadia here on earth. But it might also bankroll the creation of gilded playgrounds in the sky, leaving behind a planet full of ruins and redundant humans.”
“Krijno’s images are threaded through with references to South Africa’s colonial history and its fragile post-apartheid democracy.”
“Garry Winogrand is, in my view, the central photographer of his generation.” – John Szarkowski (All rights reserved. MoMA @ 1988)
“Loder’s constructions may appear simple, even whimsical, but they subvert conventional ideas of landscape in a really clever way.”