Daniel Gebhart De Koekkoek • British Journal of Photography

Tuesday, 22 August 2017 Leave a comment

“Using production crews, lighting experts, actors and meticulous post-production processes, [Gregory Crewdson’s] photographs were cinematic in both scale and subject – relating more closely to the work of American filmmakers or painters such as Edward Hopper than to photography. Crewdson cites David Lynch’s 1986 neo-noir drama Blue Velvet and Spielberg’s earlier science fiction masterpiece Close Encounters of the Third Kind (1977) as particularly influential. However, Crewdson’s meticulously constructed mini-dramas deliberately hint at a narrative which never unfolds.” Clare Grafik • Photographers’ Gallery


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

Van Leo • Noorderlicht

Monday, 14 August 2017 Comments off

“Appropriated by the marketing departments of businesses keen to imbue their products with an air of hard-won distinction and borrowed avant-garde cool, it is now used to describe anybody from the celebrity programmer of a pop festival to a fashion stylist who puts together a ‘capsule collection’ from a department store’s fall/winter stock.” Phaidon

Harf Zimmermann • C|O Berlin

Sunday, 13 August 2017 Comments off

“I always wonder about the tenuous relationship between image and text, especially what the text, in approaching an image, cannot unravel.” Emmanuel Iduma in conversation with M. Neelika Jayawardane • Aperture

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