@ 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 […]
“The subversive gesture to record and document, even if in cinematic discourse, the political and social status that a police officer represents in post-911 New York cannot be taken for granted”. Christopher Anderson’s work in essential terms is cinematic and tightly compressed. His images, when collated in book form become a mellifluous assortment […]
“…the decision to juxtapose the old with the new relates directly to the aporetic nature of the location. Much of what I was feeling about the development of the surrounding urban environment was a sense of dislocation and confusion.”
“Reading through them, I realised that the best ones seemed to create a kind of mental-image in my mind’s eye – which due to the tone of the text often took the form of a very deadpan, monotone, and even monochrome photograph of a little scene in small-town America; I was imagining a very straightforward picture made by Walker Evans or Lee Friedlander or Diane Arbus or others, of four dogs sitting on top of a car, or a guy standing next to a tree in the middle of the afternoon with bloody knuckles…”
“A friend familiar with what I do suggested I have a look at Bachelor & Spinsters Balls – rural gatherings originally designed to overcome distance and loneliness in the bush.”
“The premise and nature of each work, and its eventual architecture, develop as the work is progressing, and again I am led in this by my relationship with the particular site”.
Photographer Katy Grannan’s “Boulevard” marked the beginning of a lengthy series of street portraits. Curator Sarah Meister talks with Grannan about these spontaneous collaborations between the photographer and strangers met on the streets of San Francisco, Hollywood, and later throughout the Central Valley.
Reasons You’re Tired All the Time, 2013 “I feel like this question is saying ‘can you still be a feminist when your camera is aiming at your ass?” If so, my answer is yes.” BF: Within the theatricality of your images, you seem to be hinting at a considered perception of the feminine […]
Engström looks backwards but forwards too. Tout va bien – Everything is all right.
With Silvermine, is your determination to collect this material purely driven by geography? Or do you have a China fetish? Thomas Sauvin occupies a strange place in photography. His output is sincere, his knowledge of classic hiphop is un-fuckwittable, and his publications are highly coveted gems in the photographic book fetish world. That, […]
Bourbon St, New Orleans, 1995 @ Mark Steinmetz “I don’t begin a project with an agenda that is going to over-determine the outcome. I think it begins with a faint vision – one of those whispers on a breeze – that somehow gets a grip on me.” By Amelia Sechman and Paul Schiek, […]
“When I realized that I had access to the camps and could see the Khmer Rouge, it was like being able to see the Devil.” Excerpt from an interview with Bill Burke by Willis Hartshorn, New York City, June 1987 Bill Burke: Each day, I was thinking about practicality, is my pass in […]