A few years ago, the Guatemalan photographer Jaime Permuth researched the archives of the Anacostia Community Museum during his Smithsonian Institution Artist Fellowship, where he found images documenting the Latino Festival. According to curator Olivia Cadaval, the event’s first iteration in 1970 came as a response to an inaccurate census count of Latin Americans living […]
“The images do not look like images from the present. This suggests the potential for these objects to be lodged in a strange time-warp of consumer nostalgia. In some cases, the images appear as though they are from Dutch products thus complicating their geo-specificity and asking larger questions of tribute and nostalgia in equal measure” […]
“I think that this is an argument that needs definition and that in doing so, following it up with the above analysis mentioning of colluding Nazis to the smell of shit and gay activity to the Nazi and his shitting, we are reducing gay men to shit smelling Nazis whose sexuality is thus limited and demonized incorrectly”
“The Sentinel Script follows traditional sci-fi patterns in alignment with Kierkegaard or Nietzsche’s existentialist thoughts on our struggle with apparent meaninglessness and our position as individuals in a confusing and unsettling environment.” (GZ)
“What we cannot speak, we must pass over in a meaningless system of categorization.”
These event headlines are embedded in this single image, now symbolic of defiance against the brute force of state power. It is both the beginning and the end – the beginning the event evokes and an end that stops at the image and caption. The news image of global importance is the both the beginning […]
”Thomas sent across a very polite email, stating, ‘I am mostly interested in the surprising way you could digest such a body of material. I contacted you because I think your collages are truly spellbinding…’” By Brad Feuerhelm, ASX, September 2015 Melinda Gibson has flown to China to collaborate with Beijing Silvermine mastermind Thomas Sauvin […]
Cariou sued Prince and Gagosian, alleging that Prince’s Canal Zone works and exhibition catalog infringed on Cariou’s copyrights in the incorporated ‘Yes Rasta’ photographs.
Today, Richard Prince, still glowing in triumph after his own copyright battle with Patrick Cariou, is simply screen-capturing his own participation on Instagram—brazenly selling inkjet enlargements of other people’s image uploads for $90,000 a pop. What’s more, Prince is adored for it. How to Sue Richard Prince and Win By Nate Harrison, July 10, 2015 My […]
Since Richard Prince first exhibited infringing appropriated photographs, reproduction technologies have thrown established conventions into disarray.
“Perrottet was an obsessive recorder of the physical possibilities of the human body, from its most subtle gestures to its most grotesque exertions”. By Eugenie Shinkle, ASX, May 2015 When dancer Suzanne Perrottet died in 1983, she left behind an extensive archive. Amongst the notes, letters, documents, and photographs were a number of banana […]
XZc7w, 2011 @ Doug Rickard Horrorcore, a sort of contemporary American gothic, with all the inherent inversion of values. INTERNET GOTHIC and Transcendentalism in the Age of Mechanical Reproduction By Owen Campbell, ASX, January 2015 In the preface of National Anthem Doug Rickard quotes Walt Whitman; in the coda he quotes Woodie Guthrie. […]