
Jeffrey Silverthorne: The Suture That Binds Us
“The images are works of art. They exist in art historical categories and they evade an inherent use of death as either a procedural epistemology or body shock tactic”
“The images are works of art. They exist in art historical categories and they evade an inherent use of death as either a procedural epistemology or body shock tactic”
“To me, The Ramayana is not only about Hinduism, it is about life in the first place. About love, loss, family, honor, success and failure… Things we all experience in our life, no matter your beliefs, religion, etc.”
“For me, almost every home is the image of a person”
“Everything about the city made me uncomfortable and raised questions: the landscape, the atmosphere, the situation, the agitation, etc. It seemed so imperfect. I wanted to understand this chaos.” To the West, is the Atlantic Ocean and the Americas. Facing East, the huge Sahara Desert. The city of Dakar in Senegal sits in between these […]
“FREE HUGS from the opioid den”
“Agamben’s ‘bare life’ is visualized through the refugees and migrants, desperate lives in search of a better future and for us, a potential vision of a dystopia where the extreme polarity between those of us inside and those outside is distinctly highlighted.”
“Is Mosse really showing us the plight of migrant subjects, or indirectly something of his work’s own quandary, and by extension, white photography’s lack of critical engagement with race?”
“Perhaps she is transsexual. My only real experience with Italy prior to 2002 is when I tried desperately to buy weed from a transsexual prostitute along the outer wall of the Protestant cemetery in Rome. It ended in an angry dismissal of my interests and my being from said prostitute. “No sex, No weed Fucking American””
“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”
“The idea of art and politics co-existing is no more or less deeply problematic than the idea of them being separate. But nobody said it was going to be a picnic.”
“He recalls developing his negatives by moonlight, having to make his way to the ferry on a road thick with often-time un-negotiable elephant herds. He tells of carrying his chemicals with him and cutting down his negatives to get a surplus of possibilities. I never had this.”
Stacy Kranitz ’s long-form photographic project As it was give(n) to me is a work that interrogates notions of documentary truth.