Richard Prince on the Guggenheim Collection (2019)
Richard Prince is one of six contemporary artists invited to explore the Guggenheim’s collection as a curator of the exhibition Artistic License: Six Takes on the Guggenheim Collection. He says, “When you go to something as vast as the Guggenheim’s collection is, you start to see patterns.” When preparing for his presentation, Four Paintings Looking […]
Beyond the Pandemonium of Nowness: Guido Guidi’s In Sardegna
“The photographs in Volume 1 of In Sardegna are extraordinary. It’s as though Guidi was trying to wrap his wide-angle lens around everything at once: people, cars, buildings, gestures, dogs and donkeys, rocks and trees and landscapes.”
Whiteness as a Position
“Whiteness is a position that anyone can possess regardless of their colour.”
Federico Clavarino Interview: Hereafter, Escaping Nihilism
Editor’s Note, This interview was conducted over the period of months. Federico and I would ping pong ideas back and forth. Being a busy artist, Clavarino had already moved into several different territories from my principal point of trying to tackle Hereafter, his great opus about power, family, archive and how history is activated […]
Bryan Schutmaat:The Goddamn Interview
“In very broad terms, it seems that the work made in the West during the 20th century portrays a prolonged event – a disaster, you could say – that unfolded as modernity overtook the landscape and ideologies were instilled in American culture”.
Salvi Danes: A Cinematic Investigation of a Photographic Panopticon
“With cinema, the moment, the ever-many moments included in its orchestration (non-news, non-documentary) force inquiry as to the pathos of its production and in doing so enables the viewer to consider the film in terms of fantasy, memory, time and delivery”.
Dennis Stock: Once Upon A Time in California
“Photographs make up the vast majority of how we consider the narrative of California in the late 60’s and early 70’s and Dennis Stock’s California Trip exemplifies the condition for how we examine our historical memory and consciousness of the period”.
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”.