“There nothing more boring than, lets say, a picture of a chair and everybody looking at it thinks, well, thats a chair.”
“Is Mosse really showing us the plight of migrant subjects, or indirectly something of his work’s own quandary, and by extension, white photography’s lack of critical engagement with race?”
“What is at work here is not that the image is iconic, but that it is graphic and SUPERFAMILIAR, which legitimizes its effect and distribution”
“As we ponder the future fugue states of Europe, the diplomatic inadequacy of the New West and Russia, questions arise”
‘linoleum buckles on counter tops, and unseasoned lumber twists walls out of plumb before the first occupants arrive.’
“Completely captivated by the photographic possibilities of light, both artists come at the medium with a desire to seek the extraordinary, in order to access invisible states of consciousness.”
“The image itself is being hailed as an icon of the current struggle between the American police state and the tremors of their abhorrent measure to kill young black Americans, which is no doubt racially and economically motivated”.
“One should not assume that the “error” of the apparatus is simply a program waiting to occur”
There was something nearly satisfying in the midst of tying his sister’s best friend to a board of broken glass
“I mean there was that twenty-minute experience of thinking, well, all my life has been wasted but this is marvellous…” – Franz Kline
Now, it’s hard to defend yourself if you are in possession of the ‘white privilege’, as I am…
“Classon” is breakthrough in a way for artists Yoshi Kametani and Daisuke Yokota.