Gabor Szilasi

Friday, 28 July 2017 Leave a comment

“What did these photographs open? Imagination can be delicate, imposing a protective decorum. A photograph insists on raw fact and confronts us with what we were perhaps avoiding.” Teju Cole • New York Times Magazine

Robert Glas • Wallpaper

Thursday, 27 July 2017 Leave a comment

“It’s the first image in history that shows the effects of bombing on the more fragile part of society: children. It’s not just part of this country’s memory – although it took 40 years for the pictures to be seen here – it’s part of Europe’s memory. It was the impact of this photo that led many people to get involved [in the war].” José María Uría as quoted by Sam Jones • Guardian

Eve Arnold • Magnum

Wednesday, 26 July 2017 Leave a comment

“My work never hopes to reconcile language and image. More accurately, it deploys their unbridgeable autonomies as both a means and a metaphor. […] The language and the photographs collapse into disjunctive double exposures and create a broken double vision, moving in and out of sensory alignment.” Nicholas Muellner in conversation with Adam Bell • Aperture

Alfred Eisensteadt • Life

Tuesday, 25 July 2017 Leave a comment

“As quickly as she could arrange the trip from Amsterdam to Pingelap, [Sanne] De Wilde set off for Micronesia. The work she produced there, in the course of an almost monthlong visit, meshes a social-documentary approach with a sort of experiment in point-of-view photography.” Max Campbell • New Yorker

Martin Parr • Magnum

Monday, 24 July 2017 Leave a comment

“In most of my work, I assume the non-reality of the final images and highlight the process that created them: the manipulation or superimposition of images, whether my own or found material. The constructed images belong to space that is neither completely real nor completely fictitious, neither reality nor memory.” Delio Jasse in conversation with Paula Nascimento • Aperture

Retam Kumar Shaw • Guardian

Sunday, 23 July 2017 Leave a comment

“The book, the size of a large photo album, has been disassembled, its two hundred-odd pages cut out and placed each in its own transparent protective sheath. Detached, the leather-bound front cover, with Félix Nadar’s flamboyant signature stamped in the center in gold leaf, lies in a cardboard box looking scuffed and forlorn, like exiled royalty.” Adam Begley • Paris Review

Karine Laval

Saturday, 22 July 2017 Comments off

“My work never hopes to reconcile language and image. More accurately, it deploys their unbridgeable autonomies as both a means and a metaphor.” Nicholas Muellner in conversation with Adam Bell • Aperture