RM: What is “home“ to you? Maybe also talk about where and how you grew up and where you feel your roots are. MDG: This is a question I’ve been asking myself many times in the last few years and – to be frank – I still don’t have a definitive answer. I’m more prone […]
BF: Photo Book Corner has just taken up new quarters, new premises in Lisbon. Is this the first shop that you have had for the Photo Book Corner? Can you perhaps give us a little insight into when you started working with books? Did you come through photography or was this started from the book […]
“The picture stays in the kid. Tell heaven don’t wait for me” What is an image produced if not the perversion of self either in or out of frame? Authorship is dictatorship, no? What to do with a pare? Game Over, and if this isn’t an obvious affront to the Texas that I […]
“There is an emphasis on banality, but also the whispered markings of the south with dead deer and hand-painted signage” William Eggleston 414 is a compelling book for what it is and what it is not. At first, when I saw the title in the Steidl catalogue, I simply thought it was a […]
“The way in which we write history is tinged with this conundrum. It suggests blinders in the very least and in doing so, should compel an understanding of context that is piecemeal or limited” It’s often difficult to unpack a particular body of work or historic book that has been republished without regarding […]
“Every image poses the question of American identity not just from the standpoint of our present reality, but from the playbook of iconic images – most of them from the twentieth century – that make up the history of American photography.”
“It is true that he made images at a distance, at arms length as it were, but there is a considerable, rather a palpable feeling in the images that Heath is almost placing himself next to his subject”.
“I went down there and saw all these little paintings of landscapes, houses, little beautiful scenes. The light on that picture is from reflections of cars going underneath the freeway. The whole roll was faint, faint, faint. And then there was the clown. There are so many places like this, it goes on forever.” On […]
“In a sense I was trying to complete a circle: I travelled to the neighbourhoods that had some bearing on the childhood development of my art-heroes and consequently on the art they made as adults, and then I tried to photograph these places through the ‘afterimage’ of the artistic influences these works had imparted on me”
“Takashi Homma is indebted to Robert Frank. This much is clear. He is as sick of goodbyes as are the best of the Swiss and as are the best of photographers”
In the summer of 1958, several months before The Americans made its debut in France, Frank began experimenting with moving pictures.
Engström looks backwards but forwards too. Tout va bien – Everything is all right.