Massao Mascaro: Jardin, a Rumination of Plots

    The garden is a space in which experiments and critical thought are born and carried out. It is a space in which growth is mediated within the flora of its inhabitants, but also in the contemplative mental space of its guardian. Work and toil produce challenge and transformation within the confines of the […]

Thomas Sauvin: Great Leaps Forward

“…the word ‘image’ embodies a number of distinct phenomena. On an existential level, it articulates the impression we project onto others and ourselves—self image, body image, public image. But in a traditional art historical context, it alludes to the visual representation of someone or something in a work of art”. by Cat Lachowskyj     […]

Cars and Guns and Tattooed Dudes: Gregory Halpern’s Omaha Sketchbook

“Omaha’s attitudes towards gender are somewhat unreconstructed – when it comes to masculinity, either you’re a man, or you’re not, and it would be easy enough to describe the place with a set of cartoon signifiers: cowboys and cars, guns and tattoos, high-school football and hard men in uniform.”

Brad Rimmer: Nature Boy, Dispossession and the Art of Fire

“The teens of the group had mentioned amongst themselves that Marie Kondo was probably part of the seemingly insidious discussion. Was the dispossession that the man raged about relegated to clutter or to economics? And…why should we/I/You concern ourselves with considerations of obscene boredom when the beds were allegedly burning? Not much fun in this […]

Ursula Schulz-Dornburg: Yerevan 1996/1997

    “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 […]

Hausthor & Guilmoth: Sleep Creek, Gauze-Eyed Gothic

  “Listen, the weight of a heavy set foot dragging across the floor boards above unmoored by concern for the splinter in the attic above, the same attic two floor removed from the wet-smelling basement where deer hides are tanned with Borax soap..”   Out here, I see the world through a type of gauze […]

Mark Mahaney: Polar Night

“The disappearance of discernible items that we consider part of the terrain from fire hydrants to road signs seem obliterated and marshmallowed under the soft, yet threatening canvas or blanket of ice that permeates each picture. Houses tend towards the gingerbread with too much icing and though it can be suggested that it is possible […]

2019: A Short Guide To White People & Their Photography Books

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 memory […]

Sohrab Hura: A Carnival of Violence and then a Volta

“I felt ambivalent about what was unfolding but in the end, the psychic energy and latent subtext, prefaced by a short story involving a headless woman, a bird and a photographer was too compelling to dismiss.”

Gaechter & Clahsen: Fünf Finger Föhn Frisur

“Images from French photographers in West Africa, Madagascar and also the Middle East, such as studies by Tancrede Dumas focused on hair as a way of defining difference”.   Of all bodily parts most associated with photography, and though I would like to think there are many, hair remains the bodily material most associated with […]

Guillaume Simoneau: Murder as Legacy

“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 […]

Martin Stöbich: Beirut / Tokyo 東京 and one picture of Mt. Fuji / Happy in the U.A.E.

“The way a photographer “sees” and commits to an image is through experience. These experiences have very little to do with the camera and are built up over years of living-these experiences and the years that sponsor them are not always the glorious nostalgic highlights that we remember in their honey-dipped form, but are also formed of tragedy, comedy and a resistance to our inside force of direction”.