Noémie Goudal’s magical realism and our language of decay.
The vast majority of this material exists in a format without physicality. These ‘documents’ that the artist collects are in effect, de-materialised. They exist in a capacity of their non-physicality. It is an archival practice of collecting where the previous mode of acquisition is lost for that of an imagined meta-collection – a collection that, […]
Knowing that she was about to die, my aunt said that she would have less regret about leaving this world if she knew she could still send letters. There was a certain burden of hearing the small metal chain swing against the glass casing of the light bulb’s pulsating dissonance. Clink, clink, the third […]
Andy described him as – “one of the most fascinating men in the world …… he’s like a modern Tarzan. He jumps in and out of the snake pit he keeps at his home. He cuts himself and paints with the blood. He wears sandals and no socks in the middle of Winter. It seems […]
War is a huge, infernal industry, the largest one on this planet. It seems presumptuous for one man to attempt to stand in the way of this machinery. Once war has broken out, everything spirals out of control almost immediately, turning even the armies and the soldiers who fight in it into helpless onlookers, victims of their own […]
Blown apart by flash and that of night’s embittered black veil, the work makes for uncomfortable viewing and the best part about it, is that it purports to do none of this, but to simply be nocturnal. A slow and grinding glacial push can be heard from the edges of the city-state. People are […]
The content may criticize the media or the state or the history of photography, but I would be disappointed if the work were reducible to any one of those things.
I was, part of a youth culture, a movement. And I greatly embraced this liberating music and club life, which was in such stark contrast to the posy-dressy 80s.
Cariou sued Prince and Gagosian, alleging that Prince’s Canal Zone works and exhibition catalog infringed on Cariou’s copyrights in the incorporated ‘Yes Rasta’ photographs.
Today, Richard Prince, still glowing in triumph after his own copyright battle with Patrick Cariou, is simply screen-capturing his own participation on Instagram—brazenly selling inkjet enlargements of other people’s image uploads for $90,000 a pop. What’s more, Prince is adored for it. How to Sue Richard Prince and Win By Nate Harrison, July 10, 2015 My […]
Satanic Panic Part II
Eggleston brought MoMA around eight carousels of slides made around 1970 from which Szarkowski chose seventy-five for the exhibition and, of those, forty-eight for publication in the Guide.