“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 […]
“I remember seeing images of rock or glass candy with scorpions frozen into their sugary structure, it would not be far to think of these portraits in that capacity”
“In any event, this numbness behind the eyes reminds me that I live and I die for next to nothing”
The content may criticize the media or the state or the history of photography, but I would be disappointed if the work were reducible to any one of those things.
I was, part of a youth culture, a movement. And I greatly embraced this liberating music and club life, which was in such stark contrast to the posy-dressy 80s.
Today, Richard Prince, still glowing in triumph after his own copyright battle with Patrick Cariou, is simply screen-capturing his own participation on Instagram—brazenly selling inkjet enlargements of other people’s image uploads for $90,000 a pop. What’s more, Prince is adored for it. How to Sue Richard Prince and Win By Nate Harrison, July 10, 2015 My […]
Eggleston brought MoMA around eight carousels of slides made around 1970 from which Szarkowski chose seventy-five for the exhibition and, of those, forty-eight for publication in the Guide.
Often blurred and seeming to blend into interiors, Woodman’s photographs evoke a haunting, haunted world wherein her own physical self appears to vanish—or emerge—before our eyes.
“If there’re gonna be 100 people in my apartment, there are gonna be twenty or so who want to be exhibitionists and expose themselves to express themselves…”
Stacy Kranitz ’s long-form photographic project As it was give(n) to me is a work that interrogates notions of documentary truth.
“I got the idea of camouflaging my camera in Frankfurt, where I was shooting an essay on its brothels.” Interview conducted by Brigitte Ollier (Paris, October 9, 1999) English translation by R. Bononno Madeleine I got the idea of camouflaging my camera in Frankfurt, where I was shooting an […]
The Rhine II, 1999 There is something very straightforward about Andreas Gursky’s photographs. It is as though he holds up a peopled landscape or a building or a workplace for our inspection, saying simply, ‘here it is’. The Iron Cage of Boredom By Julian Stallabrass There is something very straightforward about Andreas Gursky’s photographs. […]