The discourse surrounding this book is less bleak than the images themselves. Being a fan of Michael Ashkin’s work, I find this book to be his bleakest, yet when I read his words about the meaning of the book, I do not get the impression that it is necessarily its intention. First, we will start […]
For the complete list, please consult the Nearest Podcast in the following weeks, where I will MC over a much longer list of the great books published this year. For this list, I wanted to keep the books down to five that I feel will define the artist’s career or are crucial to the medium. […]
PHOTOBOOK YEAR-LONG COURSE MAY 2022 – MAY 2023 The Intent I have been enthralled with the photobook medium since the late 90s. I do not see the photobook as a simple vessel for photography. I see it as a medium that can be understood as the final message. The book suits me as a […]
“The good of a book lies in its being read. A book is made up of signs that speak of other signs, which in their turn speak of things. Without an eye to read them, a book contains signs that produce no concepts; therefore it is dumb” – Umberto Eco, The Name of the Rose. […]
“However, I am interested in how we discorporate and re-corporate an image of somebody based on how they wear themselves to the public and what the conversation around the image of that person is by addressing their image and performance in it as iconic”. How do we disassemble a look, let alone an “iconic” […]
It was the best of years…. Once again it is that time of year where I try to drum up some sort of edit from all of the incredible work the photography book world offers up. This year is difficult as I felt it has been one of the strongest years in recent memory […]
“The modern city engenders various pathologies, among them agoraphobia and claustrophobia – the one an intense anxiety felt in open spaces, the other, a panic brought about by confinement. Horizont channels both of these aberrations.”
“In my opinion, the devastating confusion that capitalism wreaks upon the coherence of memory and history renders almost all imagery, and in particular, photography, as bearer of the uncanny.”