“Self-apathy, self-torment, and a penchant for observations oscillating between peaks and troughs of life’s banes and boons-or what my friend Jeffrey Silverthorne once described as “Swedish grain syndrome”. “The photograph is for nothing”. Truer words are yet to be spoken. Another in a series of Constant Effigies and notorious negations. A child […]
“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 […]
“I was raised alongside the internet, so there was never an othering effect from the introduction to newer technologies, especially the internet.”
“There’s something unnatural and coercive about the idea of ‘making memories’. Surely memories can’t simply be fabricated at will? Forming a memory is something more organic, more random, and it’s all the more precious for this unpredictability.”
“The subversive gesture to record and document, even if in cinematic discourse, the political and social status that a police officer represents in post-911 New York cannot be taken for granted”. Christopher Anderson’s work in essential terms is cinematic and tightly compressed. His images, when collated in book form become a mellifluous assortment […]
“My initial desire to make this work was my connection and fascination with the language. A language that has existed in my family for hundreds of years but that I do not speak”.
“The general sense of doom and the proclivity towards nightmarish consequences of feast or famine natural disasters ushered in a new era in which spiritualism, cults, and Catholicism all formed an ungovernable supernatural belief state”.
The digital image is an image file. It has no form and is invisible until it gets interpreted and transformed by software or the internet user. In the process of being made visible it is staged or performed.
“What is held onto through a photograph, is no longer the disappearing object itself but something that appears or becomes visible in the moment of its vanishing: as it were, the last glance that it casts at us, or the last glimpse of it that we can catch.”
Who is Ed Ruscha? Fine Arts Museums of San Francisco Curator Karen Breuer gives a primer on the iconic Los Angeles artist, examining his style, his subject matter, and his effortlessly cool persona.
“Modern society is a ruin, in our emotions and our judgement.” On the occasion of ‘The Rest’ (2019), a documentary featuring his encounters with refugees, Ai Weiwei – one of the most influential artists of our time – speaks open-heartedly about the global refugee crisis, which calls for individual action: “There is so much we […]