@ 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.
“Whenever I find I repeat myself, I look ahead in a new direction.” — Stephen Shore Photographer Stephen Shore wants his pictures to feel as natural as speaking. In this gallery tour, Shore reflects on his six-decade long career—from his early work taking pictures in Andy Warhol’s Factory to road trips across America. “Stephen Shore” […]
“Arbus reveals the powerful ability of photography to lie, but also it is a testimony of how the lie is not mere betrayal, but a far-reaching human necessity to escape factual reality, the human urge to create and believe in stories, to draw mythical worlds and the inter-subjective life’s alternative narrative.” Imaginary lives, compulsive […]
“These spaces now hide, move, dwindle or extinguish themselves from the aim of progressive rule. There is not an alternative.”
To combine cinematography with photography, Wall took his camera out of the studio along with lights and actors with the intention ofmaking pictures with the look of films from the 1970s that would lend a sharp, documentary style to his pieces. By Graham W. Bell In 1982, Wall took his photography to the street. Combining the aesthetic […]
A Young Man in Curlers at Home on West 20th Street (N.Y.C. 1966) Arbus uses a strong flash to create a high-contrast photograph in “A Young Man in Curlers at Home on West 20th Street,” which is representative of the strong, conflicting ideologies of Americans in the 1960s. The man’s face is stark white compared […]