‘While Ruwedel’s concise framing draws attention to the resemblance between one house and the next, it also compels us to reflect on the singular defeats that they portray, each one a small chip out of the American dream.’
“The idea of art and politics co-existing is no more or less deeply problematic than the idea of them being separate. But nobody said it was going to be a picnic.”
“My work in the landscape is ultimately about human culture, not about nature. I always think of landscape as historical, or historicized; as not existing outside of history.”
“You have to be prepared to look in the ‘low’ places in our visual culture as well as the ‘high’. You have to be a rag picker as much as a connoisseur”.
The photographer once stated dryly that the centripetal composition of all of his pictures was based on the Confederate Flag.
Eggleston brought MoMA around eight carousels of slides made around 1970 from which Szarkowski chose seventy-five for the exhibition and, of those, forty-eight for publication in the Guide.
Cummins Prison, 1975 “Always when I went to prisons before they would say, ‘Do you want to see death row? Do you want to see the electric chair?’ I always said no. I didn’t want to see the electric chair because I figured it was just a voyeuristic trip.” By Geoff Kelly Bruce Jackson […]
For the authors Feuerhelm and Salu, theirs’ is an act of frustration at our willingness to sit back and be spoon-fed bullshit while behind us a cartoon mouse holds a gun to our head. By Poppy Coles, June 2015 This book reads as an unrelenting portrait of “the enemy” today. Using the historic […]
Walker Evans photographed flood refugees at mealtime, Forrest City, Arkansas, 1937. EXPLORE ALL WALKER EVANS ON ASX
Elizabeth and Dora Mae Tengle, Hale County, Alabama, 1936 “‘Visual impact’ may not mean much to anybody. I could point it out though. I mean it’s a quality that something has or does not have.” Walker Evans interviewed (excerpt) by Paul Cummings for Smithsonian, NYC, Oct-Dec, 1971 PAUL CUMMINGS: Could you describe in some […]
Walker Evans’ Many Are Called is a three-year photographic study of people on the New York subway.
Throughout his career, Walker Evans’s goal remained unchanged: to produce photographs that are both evocative and mysterious and also an accurate record of the day. Evans came from a tradition of American photographers interested in identifying the unique character of everyday American life. Hear Evans talk about his work during the Depression, his collaboration with […]