Louis Draper

Monday, 21 August 2017 Leave a comment

“The man had an air of intrigue that [Phillip] Toledano sought to reproduce in the photograph in post-production. After the session, he pulled the portrait up on his computer screen and started re-photographing it over and over again until the digital moiré we see in the final image emerged. In the degraded photograph, streaks of color run down the right side of [Julian] Assange’s face in a patchy pattern; even in print, he appears to be looking through a screen.” Max Campbell • New Yorker

Bernd and Hilla Becher

Sunday, 20 August 2017 Leave a comment

“Like these predecessors, the Bechers have been concerned from the beginning more with what Kevin Lynch called ‘a pattern of sequential experiences’, that is with a process that connects one image or one encounter or one object to the next and the next and the next (‘as in Nature’, they say), rather than using photography to exercise the analytical powers of isolation, definition and classification or even detailed description and understanding.” Blake Stimson • Tate

Man Ray

Saturday, 12 August 2017 Leave a comment

“I began pulling images from stereographs, because I thought they were so culturally interesting and specific in terms of creating an American cultural identity and history through this new technology of photography. In some ways the images romanticized different groups of people and certainly didn’t tell complete stories. So I enjoyed reinserting different kinds of images that referenced different histories, linking digital technology with the stereograph.” Jessica Wimbley in conversation with Mark Alice Durant • Saint Lucy

Derrick Lin

Friday, 11 August 2017 Leave a comment

“There are human bodies present, but only by implication. This is a scene of deep shadow and blur.” Teju Cole • New York Times Magazine

Masahisa Fukase • Michael Hoppen Gallery

Thursday, 10 August 2017 Leave a comment

“See if you can ride along with some agents from Immigration and Customs Enforcement rounding up Latino immigrants, the photo editor tells the photographer. Go capture a group of brown-skinned innocents being led away in cuffs. And if one of the ICE agents is also Latino, the editor adds, so much the better.” Hector Tobar • New York Times

Constantine Manos • Magnum

Wednesday, 9 August 2017 Leave a comment

“[Cindy] Sherman’s Instagram posts are a series of wildly distorted selfies, flower arrangements and disturbing hospital self-portraits, with oxygen tubes up her nostrils. There is a video shot from the perspective of someone lying in a hospital bed. The viewer is made to wonder how much of this is real, whether Sherman was actually hospitalized, or if it’s mere fabrication.” Noah Becker • Guardian

Arlene Gottfried

Tuesday, 8 August 2017 Leave a comment

“It is a work of accidental cartography: ‘Without my having intended it,’ [Teju] Cole writes in the postscript, ‘the map of my movements was becoming a map of the world.’ Eschewing markers of cultural or geographic difference, he investigates ‘the common semantics of used space’ across more than twenty countries, compassing the earth by parsing its loose ends and frayed edges.” Julian Lucas • New York Review of Books