“Maybe just to plant a stake in the ground, I’d also say that topics are not necessary. Which doesn’t at all mean that one can’t have one; just that one needn’t”. This conversation took place over a year of emailing and should be read as informal. The intention was to talk about Tim’s […]
“There is noise, distortion, grain and the magnetic tape in my mind completely fails in parts to distribute any information at all. The images are dark, stained by the passing of time and the incredulous weight of dry heat. Throughout the song “Blackened” by Metallica plays over and over…” When I look at […]
“Though I do not believe Gareth’s aims as overly facilitating the need for politics, I cannot help but feel the naked bodies found in the work, their arms outstretched towards something greater are indicative of an aversion to the concrete matters just outside the door of wherever the Dream Meadow itself had been manufactured”. […]
History generally presents itself to the future in visual terms that signify the distance between the two points of time from its creation and its re-purposing and its re-examination. The fallacy in photographic terms of historical representation and its distribution of intent are intertwined between reason and audience over the passing of linear […]
“Armenia and Its role in the central Caucasus make its geography of special geo-political reference given its access point, along with Azerbaijan and Georgia to both the Caspian and Black seas and their lucrative conditions of speculative petrol potential”. Yerevan, the Armenian capital is built from several considerations of the volcanic. In […]
It was the best of years…. Once again it is that time of year where I try to drum up some sort of edit from all of the incredible work the photography book world offers up. This year is difficult as I felt it has been one of the strongest years in recent […]
@ Robert Adams “I shot about 450 rolls of film, all up and down the Front Range, mostly in the Denver area, though. And the work from that sat under—I printed it all and mounted every print, but it sat under my work table for about—whatever it was—I mean, like 20-some years.” Excerpt […]
“Guillaume Simoneau is a not a cannibal, but his book Murder (MACK), is an ode to Fukase’s legendary status and particularly his book Karasu/Ravens. Murder is a devotional hymn, or a phantom limb added to the mythology of the Japanese artist” Inherent or Mythological Propagandas One of photography’s less considered functions is […]
“Times change, we orchestrate ourselves to different locations and yet with nostalgia nothing need be lost. It can be found again. We can consider the death of an idea as being flexible to finality, but that is a different conversation”. We tend to enshrine people and ideas with a certain sense of […]
“So, when we consider respect in the medium, we can limit our discussion by looking at who is contributing to our world and who is not. Publishers by and large are the unsung heroes of the day”. A friend of mine recently commented on the lack of risk-taking in publishing. I took some […]
Photographer Daido Moriyama reflects on the rebellious youth culture of late 1960s Japan, a period when he and his colleagues were working on the avant-garde photography magazine Provoke (1968–69). He discusses his attempt to deconstruct the medium in his series Shashin yo sayonara (Farewell Photography) (1972), though it ultimately deconstructed him.
Photographer Robert Adams discusses the mystery and contradictions involved in capturing the American West on film. He describes making pictures of Colorado and California, where he uncovered both the darkness and the beauty of humans’ impact on the land.