Han Youngsoo • International Center of Photography

Monday, 27 February 2017 Comments off

“Instead of simply representing things in the world, the machines and their images were starting to ‘do’ things in the world. In fields from marketing to warfare, human eyes were becoming anachronistic.” Trevor Paglen, qtd. by Jussi Parikka • Photographers’ Gallery

Valérie Belin • Paris Photo

Sunday, 26 February 2017 Comments off

“[Daguerreotypes] were not all that cheap, but they were so much cheaper than having a painted portrait. It really democratized the whole idea of having your image for yourself,” Miles Orvell, qtd. by Jordan D. Teicher • New York Times

Ren Hang

Saturday, 25 February 2017 Leave a comment

“As the body count has risen, so has the number of photographers who have seen the streets stained by blood. […] But it is a strong group of local photographers—comprised of freelancers and those working for the wires—who have committed to keeping the human toll in the public eye. They live in this hell, waiting for the next lead to the next crime scene.” Andrew Katz • Time

Chandra McCormick • Time

Friday, 24 February 2017 Leave a comment

“I stood next to him and showed him how to work the ancient settings. He said he wanted a real lesson — and then he made me an offer. If I taught him to take photographs on the Pentax, he offered, he’d show me how to do man-on-the-street interviews. That way we’d be teaching other the basics; it was an even marketplace exchange.” Lesley MM Blume • Los Angeles Review of Books

Robert Cumming

Thursday, 23 February 2017 Leave a comment

“Cumming’s images undermine the idea that a photograph, upon first glance, is as reliable as anything that reaches the unique receptors leading to our sensorium—eyes, nose, ears, mouth, skin, the liminal areas between the world around us and the world of cognition. He explores the moment of seeing, and delivers us wildly imagined permutations of the moment that follows: when perception is either uncontrollably, automatically processed or mistakenly processed based on remembered experience. But always with a robust and fathomless imagination.” Sarah Bay Gachot • Aperture

Sylvain Couzinet-Jacques • Aperture

Wednesday, 22 February 2017 Leave a comment

“The pleasure of the few flickery seconds of this stately cortege is not simply the possibility of spotting Proust himself, but of seeing him in the ambiance that would become his fiction. It sends us irresistibly back to Swann’s first, barbed, encounter with his beloved Odette. Though she was one of the best-dressed women in Paris, he observes, she was encumbered by a corset designed to evoke ‘an imaginary stomach’ in a dress style which ‘gave a woman, that year, the appearance of being composed of different sections badly fitted together.'” Editorial • Guardian

Yutaka Takanashi • Art Institute Chicago

Tuesday, 21 February 2017 Leave a comment

“When I look at moving images, my viewing time and pace is predetermined; I’m on someone else’s clock. When I look at a photograph, I’m on my own clock. I see an image, but I also have the option of contemplating it, living in it, savoring its details, thinking it through.” Holland Cotter • New York Times