“Until you step into the frame of a divide, whether racial, economic or other, the words, the calculations and the slow pulse of a printer spitting out excel spreadsheets and dissertations for coffee-stained board room meetings to university viva defense chambers simply limit the constituency that they purports to encourage…”
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?
“Instead of seeing Goldin’s re-edit as encompassing the visibility of any specific group, it invites reconsideration in an approach delinking the narrative of otherness towards what I see as a photographic project of genuine care.”
“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?”
“Blue is the color of the unreal, of the memory, of the open mind, of the royal, the precious and the rare. Blue is the color of the absolute, the higher, the divine, of cold and of clarity. It is the color of Yves Klein, Derek Jarman, Picasso and Gerard David.”