What aspects of this collaboration, both Thompson’s and Reynolds’ are complicit in the same ideology and methodology of representation that perpetuates this distance between the photographic, its technological apparatus and its subject matter?
“… no matter what conjecture there is about his death on the beach of Ostia under the wheels of his own car, genital’s hammer-smashed and reeking of Vatican gasoline, throat laced with limp skin from broken bone between sand and sea, his light lingers on…” The Films of Pier Paolo Pasolini are without doubt established […]
“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.”
“No it’s not!” I said, “I’m going to prove to you that it’s not. I can do this and it’s not pornography!”