Keiichi Tanaami on “Pop Art”
“I have never thought of myself as a pop artist. However, when I was young there was a time when I was influenced by the methodologies and techniques of pop artists, such as Warhol.”
Where You Weren’t When We Were: SMILER
Thatcher was out, the false promises of Blair’s lying and callous maw was in. The 80’s and 90’s were different.
A Handful of Dust and The Futility of Glass: An Interview with David Campany
“You have to be prepared to look in the ‘low’ places in our visual culture as well as the ‘high’. You have to be a rag picker as much as a connoisseur”.
An Interview with Tom Lovelace: ‘this way up’
“Materiality has always been a strong thread in my work.”
Interviewing Francis Bacon: Unreliable Oral History
Bacon felt very strongly about phraseology. He erased words like ‘very, very’, or ‘well’, and ‘you see’, but added words like ‘accident’ and ‘artificial’.
Roger Ballen & Didi Bozzini: The Home as Tomb
“The House Project” by Roger Ballen and Didi Bozzini with Oodee publisher is by far the best Roger Ballen Book I have seen.
Kibbo Kift: Arcane Premonitions of Techno-Degeneracy
It was a lifestyle to say the least and it radiated past the unnecessary notions of industrial progress for that of inner and group progress.
New Dystopian Refugee Topographics
Each image still serves as a living testament of sorts, but as winter approaches, I fear they will begin to form colonies of graves, for which, I have no answers.
Alec Baldwin with Peter Beard: The Elephant Attack
“I was completely blind by the way. My optic nerve had been bounced off. I couldn’t see a goddamn thing. I had a huge hole in my leg, went right through here.”
The Non-Political Implications (and Motives) of Wolfgang Tillmans’ ‘Abstract Pictures’
A simpler question is, if this is what political art looks like, what does non-political art look like?
Dorothea Lange: The Internment of Japanese American Citizens
“This is what we did. How did it happen? How could we?” – Dorothea Lange
William Eggleston: NY MOMA Press Release (1976)
“These photographs are clearly fixed facts of the real world impartially recorded by the camera, but they are something more as well.”