“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”.
“Youth culture disavowed the mainstream façade of marriage, home, family, and traditional ageing instead looking to music, fashion, drugs, and listless sex for inspiration. They concentrated on the open roaming way of life best exemplified in cinema with “Easy Rider…”” Karlheinz Weinberger’s photography has its roots in what can be described as the sub-cultural or […]
“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.”
” Gordon Parks was first described to me as a renaissance man for his enduring and unfailing talent behind a lens. I think in those terms adding to this moniker Renaissance Alien would not be incorrect.” There are certain people in this world in which there is no other possible recourse but to name them […]
‘linoleum buckles on counter tops, and unseasoned lumber twists walls out of plumb before the first occupants arrive.’
“It’s Teller doing Teller, and he’s not even putting his back into it.”
“Fuck, he’s going to take up my time telling me about how he’s been a photographer since the 60’s…”
“Many photographers focus on capturing their loved ones, but it is difficult to give such portraits a universal dimension so as to be interesting to a larger audience than the immediate circle of friends and family”. By Karin Bareman, ASX The first image in Maude Schuyler Clay’s Mississippi History that mildly piqued my interest is […]
from Manhattan Out @ Raymond Depardon and courtesy Steidl What exists of the sensual atmosphere is counterbalanced by scenes like street-side school for teaching the newly-blind how to walk and the mangled bodies, living and dead, just hanging around. By Owen Campbell, ASX, September 2015 2015’s Adieu Saigon is a collection of images shot in […]
Despite Serra’s insistence on the political neutrality… it’s hard not to read the installation of four towering plates of steel in the virgin desert as a wry observation…
Axel Hoedt’s “Dusk” is a real enemy of the cross – a concise and metaphoric look at the subjects of the Swiss and Austrian tradition of carnival.
Ponte City came to stand for urban decay and criminality, and in some of the more right-wing imaginings, as a symbol of the failure of black majority rule.