Place de la République is a central meeting point in Paris. Several underground metro lines stop at its station, and its wide-open square is a gathering place for many people, particularly younger people. When you first enter the square, there is a flurry of activity, but it never feels overly crowded. Suppose you […]
She’s posing for consumer products now and thenFor every camera, she gives the best she canI think I saw her on the cover of a magazineNow she’s a big success, I want to meet her again -Kraftwerk, via Big Black Of course, I know nothing about modelling. Still, I can assume that there is a […]
With Dana’s work, one cannot help but be mesmerized by her ability to capture people in situ. Her career has been broadly defined by her portrait work, both commercially and for her own personal subjectivity. Whereas having a career built on poraiture no doubt inspires a healthy relationship with the craft of photography, there […]
If ever the premise of a body of work was betrayed by its execution, this is that work. I should clarify that this statement is not intended as a pejorative, but rather to note that the simplicity of the means in Shea’s initial premise is a bit of a false lead. It starts with a […]
There is a penchant, over the past ten to fifteen years or so, for photographic image-making to re-examine landscapes as scratchy abstractions, almost imperceptibly detailed beyond the reach of their granular vistas. This is most evident in the work of Korean/American artist Jungjin Lee, whose series of books and bodies of work detail the shift […]
Whether it is a proponent of exoticism and all that it entails — both fascinating and ethically dubious — photography has, at its core, an ability to reveal. It can reveal that which is shuttered, hidden, and usually unobservable. In the case of the colonial camera, much of this fascination with otherness leads to the […]
I have mentioned several projects in the past here that use the window as a mechanism for photographic discourse. There are quite a few mentions of the window as a source for inspiration; perhaps the most well-known is eminent curator John Szarkowski’s discourse about mirrors and windows, and the difference between how an artist […]
Growing up in the 90s, transgression in art, as far as I understood, stemmed from the oppressive neoliberalist tendencies carried over from the 80s. Degrees of Thatcherism and Reaganism haunted the landscape of artistry, alongside many questions arising from social issues concerning the body. Gay rights and the grappling of feminism, and more essentially, its […]
What strikes me as an interesting premise in Florian Merdes’s book Steamcracker is the enforced myopic rendering of details and patterns, which turns the book and its intense sequences into something minutely chaotic. There is a world underneath the surface of things, a rhythm and a dedication to line that emanates in Florian’s book. […]
In 1870-1871, during the siege of Paris, better known as the Paris Commune, several ingenious actions were carried out throughout the year to continue the communards’ defense first against the Prussians, then the Thiers government, which sought to suppress the resistance within the heart of Paris. Both of these actions were the result of harnessing […]
Batia Suter’s work has several substantial iterations at its heart. It stems from an understanding of volume and how images function, both in terms of their materiality and their historical context. This is most evident in her opuses Parallel Encyclopedia I and II, both published by Roma. The work that Suter makes can be […]
As if the war legacy of Dunkirk had not already been recognized as a pivotal shit eating point in its past, its charred hand to swollen coal-crusted mouth, poisoned by ethanol overload and toxic industrial habitat, history has now favored turning it from a battle-scarred historical footnote into a vast hellscape busy with killing off […]