La Calle Abierta Como Un Sueño Hacia Cualquier Azar (The Street Open Like A Dream To Chance) documents the wanderings of Bolivian photographer Ignacio Prudencio throughout different areas of Lima. As a newcomer to the city, Prudencio purposefully got lost in the Peruvian capital to better understand it. The ensuing sequence is highly abstract, composed of unrelated images […]
“When I graduated from CalArts with an MFA in 1993, I moved to New York City. It’s never an easy time to launch as an artist, but that was a particularly bad time. It was pre-internet, of course, so there were fewer ways to get work seen, and the gallery system was very small […]
“The castle, which controls the populace, does so through an absolute production of its image. It is a tale in which plebian might is as disorganized as any contemporary parallel for leading a resistance against the juggernaut who rules by fear and an unethical chess game between the citizens and the tyranny of the castle’s own image”
@ Irina Ionesco “For the most part, my characters are portrayed in some sort of deep concentration resulting in my personal interpretation: melancholy dream – expectation – prayers and enigmas”. Irina Ionesco is a name that has not been touched upon by photography enthusiasts much since the 1990s. Yet, her work has a strong influence […]
Often blurred and seeming to blend into interiors, Woodman’s photographs evoke a haunting, haunted world wherein her own physical self appears to vanish—or emerge—before our eyes.
Brassai always insisted that none of his photographs was posed… By Marja Warehime, excerpt from Brassai: Images of Culture and the Surrealist Observer Brassai always insisted that none of his photographs was posed, and there is no reason to believe that he behaved differently with the toughs in the rue de Lappe then he […]
Williams wrote me that there was a photographer there who took pictures of children and American flags in attics. Excerpt from The Geography of the Imagination: Forty Essays By Guy Davenport When I moved to Lexington in 1964 the poet Jonathan Williams wrote me that there was a photographer there who took pictures […]
Man Ray made his “rayographs” without a camera by placing objects-such as the thumbtacks, coil of wire, and other circular forms used here-directly on a sheet of photosensitized paper and exposing it to light.
Ralph Eugene Meatyard (1925-1972) spent three months looking through an unfocused camera in order to “learn to see No-Focus.” By Rebekah Modrak, Bill Anthes, excerpt from Reframing Photography: Theory and Practice, 2011 Ralph Eugene Meatyard (1925-1972) spent three months looking through an unfocused camera in order to “learn to see No-Focus.” Working roughly 30 years […]
RALPH EUGENE MEATYARD (American, 1925-1972) Untitled, circa 1960 Gelatin silver, printed later 7-3/8 x 5 inches (18.7 x 12.7 cm) ASX CHANNEL: RALPH EUGENE MEATYARD
ASX CHANNEL: RALPH EUGENE MEATYARD
“Billboards in any art are the first things that one sees—the masks might be interpreted as billboards. Once you get past the billboard then you can see into the past (forest, etc.), the present, & the future. I feel that because of the “strange” that more attention is paid to backgrounds & that has been […]