Gerry Johansson- Ehime & Lalendorf und Klaber

    “it is strange for me to consider his efforts as Swedish and yet there is something to the examination of what can only be referred to as the National Camera, implicit in that sentiment are all of the complications of generalizations and archetypes. I am not trying to espouse something concrete, but rather […]

Dafna Talmor, László Moholy-Nagy & Josh Kern- The Photographic Notebook

  “For artists who do stage their work and find it in situ, the photographic sketchbook is virtually unnecessary as a pre-game facilitator. I would suggest though, that the photographic notebook is an indispensable tool after cheap prints have been made available”   One technical tool that photographers often deprive themselves of thinking through is […]

Jesse Lenz: The Locusts Family, Familiarity and Focus

  “The historical road of photography is paved with books and bodies of work about family. It is a natural resource for making work”     The historical road of photography is paved with books and bodies of work about family. It is a natural resource for making work. Emmet Gowin, Sally Mann, Judith Black […]

Chris Killip: The Station and a Note of Gratitude

  “Killip was a human first and an observer or lucid chronicler second”   Chris Killip is known for his immeasurable and singular vision of Britain during the 70’s 80’s and 90’s. To place emphasis on his work in a genre-fied manner would belittle his and its true humanity and potential. Killip was a human […]

Ruminations on Paul Graham’s A1 The Great North Road

  “The way in which we write history is tinged with this conundrum. It suggests blinders in the very least and in doing so, should compel an understanding of context that is piecemeal or limited”   It’s often difficult to unpack a particular body of work or historic book that has been republished without regarding […]

Martin Bladh & Karolina Urbaniak: The Torture of The 100 Pieces

  “I notice the light feathery blonde hairs covering the unnaturally ubiquitous cuttings on forearms from teenage years of the Twentieth Century the world over. It exemplifies our (b)anal tragedies”   Smoke began to fill the car.     I wish to inconsistently cccccconsider the body’s ccccccartographic potential. Not happy to ultimately see it as […]

Sergio Purtell: Love’s Labour Review by Zak Dimitrov

“One can use a camera to explore or utilise philosophy, politics, psychoanalysis and what not and this is wonderful as it broadens the scope of what is achievable with this tool. It tends to be forgotten that this is not, however, the be-all and end-all technique”   When one thinks of photographic projects, which more […]

Peter Mitchell: Early Sunday Morning, Signs & Reasons

  “I have assumed this focus on the found vernacular to be American in nature. However, the details of national ownership is missing apart from the rise of American modernism or the focus on its anti-thesis, namely quaint small town America advertising often hand painted and rough”   It is somehow impossible not to mention […]

Stephen Shore: Transparencies VS. American Surfaces 2020

  “The Transparencies book published by MACK is also significant in its design, the essay within and sequence of the work, which is chapterized by annual progressions through the 70’s American dream in banal (good word, word of goodness) detail”     It is not often that a re-examination of the periphery of a significant […]

Sophie Calle – Because

“The good of a book lies in its being read. A book is made up of signs that speak of other signs, which in their turn speak of things. Without an eye to read them, a book contains signs that produce no concepts; therefore it is dumb” – Umberto Eco, The Name of the Rose. […]

Gordon Parks: The Atmosphere of Crime, 1957/2020

  “It would be easy for me to say that this book is published at the right moment and that it correlates a simple reminder about the inhuman conditions of the past…”   It is June 9th, 2020 and as I sit here penning this “review” of Gordon Parks perhaps sadly non-anachronistic and oddly prescient […]

Khadija Saye: In this Space…

“Through connections to her family, dual religions, rituals and historic re-interpretations she staged herself in performative postures, using dress and ritualistic objects to perform specific rites or ceremonies for the camera.”