@ 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 […]
“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 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 […]
Excerpts from the forensic photography archive at the Justice & Police Museum in Sydney, Australia which contains an estimated 130,000 negatives created by the New South Wales Police between 1910 and 1960.
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 […]
“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 is a position that anyone can possess regardless of their colour.”
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 […]
“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”.
“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”.
“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”.
“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”.