Franck Pourcel • Street Level Photoworks

Monday, 29 August 2016 Comments off

“A photographer can become fixed on particular pictures. I usually want to see a wider edit than the photographer initially has in mind, and quite often between ten and twenty percent of the final picture selection will come in from this broader selection. This doesn’t seem like much, but it can make the difference between the mediocre and the sublime.” Stuart Smith in conversation with Chris Boot • Aperture

Stan Douglas • Or

Sunday, 28 August 2016 Comments off

“We have come to a point in society where we are all taking too many photos and spending very little time looking at them.” Om Malik • New Yorker

Toshio Shibata • Laurence Miller Gallery

Saturday, 27 August 2016 Leave a comment

“I decided to use a pomegranate, instead of a quince, because a pomegranate would explode like a grenade.” Ori Gersht as interviewed by Tom Seymour • Guardian

Marianne Bjørnmyr

Friday, 26 August 2016 Leave a comment

“When words fail me, the photograph fills the empty space. The light goes off and the image is lost momentarily, suspended somewhere unknown. As the image fades away in my mind it miraculously appears again, right before me in the liquid between my hands.” James Wilde • Photoworks

Baron Wolman • Proud Galleries 

Thursday, 25 August 2016 Leave a comment

“[Omar] Imam’s dreamlike photographs vacillate between mundane documents and utterly inconceivable scenarios. They cannot possibly have happened and yet here they are. Unlike “humanitarian photography”—which, moving as it is, reinforces the imagination of anonymous masses of suffering refugees—the impact in the grass picture comes not so much from knowing that the people in it are displaced (though they are) so much as from realizing that the viewer’s imagination can be reordered.” Eric Gottesman • Tran-Asia Photography Review

Utsa Hazarika • Trans-Asia Photography Review 

Wednesday, 24 August 2016 Leave a comment

“The twentieth anniversary of the city’s destruction brought with it a desire to revisit these dark alleys of a bygone era. Yet that impulse seems rooted in something much deeper than the formality of the anniversary. By examining works on the Walled City by [Greg] Girard and [Ian] Lambot, this article explores this renewed—and for some, on-going—interest in reliving and revisiting Kowloon Walled City, as made possible by the retelling of its stories and reviewing of its images in relation to Hong Kong’s postcolonial identity in the making.” Jung Joon Lee • Trans-Asia Photography Review

Terence Donovan • Guardian 

Tuesday, 23 August 2016 Leave a comment

“[Sylvia Grace Borda’s] hybrid approach, then, necessitates a prolonged interaction long disposed of in the camera’s historical development. A ‘reverse-engineering’ of sorts, it acts out Brecht’s dictum that ‘nothing comes from nothing; the new comes from the old, but that is why it is new,’ in that the farmers’ stillness, staging their everyday labour with Borda, allows her to build three-dimensional, experiential portraits of them in time and space, breaking (a bit like Cubism) with Susan Sontag’s notion that the photograph is a single significant moment ‘taken’ and fixed by the camera’s frame.” Katherine Parhar • Photomonitor

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