Stars and Stripes: Militarized Cocaine Camerawork
“Without naming it, I can tell you Brian motherfucking de Palma has a lot to answer for.”
Tag Archives: Brad Feuerhelm
Steven Shearer: Ornament is Not a Crime. It is a Crypt.
“I think some contemporary subcultures can offer a kind of phrenological shortcut back to different epochs and their manners of appearance”
Christian Nilson: A Meatball in the Fondue
“It’s always the differences that inspire. We rarely document the “familiar outside”
Philip Best “Alien Existence”: Interview With Infinity Land Press
“Safe art is useless to a publisher such as ILP, and just like the work of other ILP artists that goes along with our personal taste – Dennis Cooper and Michael Salerno – this stuff is loaded”
Ivars Gravlejs: Necessary Book of Wrongs
“The savior of technological disgrace is error and possibly humor.”
Olivier Pin-Fat: An Inhospitable Sea Bed of Forgetfulness
“the dormant colossus of implicated spectral doctrines, and of theologies mistaken for technologies and of an aural sensationalism we were once accustomed to questioning has been lost, like so many transatlantic cables to the sea bed of time and forgetfulness”
Rosana Simonassi: The Plastic Disposition Interview
“I am a creature of consumerism. And I consume this kind of image myself; I would not be able to work with them if I wasn´t”
Peter Puklus: The Anachronist, Her Muse, His Mother Europa
“I apologize that so many men were mentioned. You have to understand that the books of history are uncomfortably weighted towards testicles”
Goodbye America: An Interview with Brad Feuerhelm
“I did recognise the irreplaceable object and destroyed it and my embattled state of mind with America continues.”
Cucurrucucu: Considering the Crime
“Perhaps it is a fantasy that one could wield power over the representation of death by its abstracted nature? Is this not a dangerous game to play god over the image of death?”
Graham Macindoe: Excavation. Internalization. Elevation.
“There is some nostalgia, certainly. Music often shares a correlating value to memory, which leads easily to nostalgia. It is no different with photography”
HOLLYWOOD, ANKARA: SUPERFAMILIARITY and TERROR
“What is at work here is not that the image is iconic, but that it is graphic and SUPERFAMILIAR, which legitimizes its effect and distribution”