Brad Feuerhelm: Photography Class of 2016?

“you think…”Well Sweetheart if you don’t want to hear this …Why the fuck are you here in the first place? Go forth and make your way towards the golden honey pot of money and museum exhibitions, you terrible fuck”. Don’t let me stop you or waste my time with your bullshit. Seriously”

Alejandro Cartagena: Cultural Picture Coding and Collapse

“This symbology, this fervent fabric of decline is screened within the book, but it is subtle and perhaps that is why, it is doomed, like human behaviour and meaning, to the sidelines of a genetic and shared understanding of images. “

Yoshi Kametani’s Played: Margins of Timing

“We have inherited a way of understanding events and time through images or are allowed to fashion our own prognosis of the interpretation of linear elements by looking inward and at the spaces between images…”

Aaron Schuman: Remote Hereditary Object-hood in FOLK

“It is often confusing being an American. We are a country deeply concerned with our personal histories, yet there is something peculiar about all of this in so much as that it seems to deflect from what we actually are: American”

Chloe Sells: The Morass of Sacred Geometry

“Trees, leaves, flowers are all given the Sells treatment and become abstracted metaphors of the sacred geometry still found between light and organic materials within the aforementioned natural world.”

Elly Rwakoma: Sinking All the Tricks.

“He recalls developing his negatives by moonlight, having to make his way to the ferry on a road thick with often-time un-negotiable elephant herds. He tells of carrying his chemicals with him and cutting down his negatives to get a surplus of possibilities. I never had this.”

Kenneth Graves: Dropping In, Tuning Out of the Home Front

“In my late 30’s and cynical beyond belief, I actually find this little book creating a new space or affection for the idea of the 60’s and 70’s that I had shelved previously under “cyclical fucking baby boomer bullshit”.

‘Daido Tokyo’ at Fondation Cartier (2016)

Moriyama admits that repetition is his way of working, and that his impulse to reproduce his surroundings today is much the same as it was when he got his first camera, in junior high.