“The image itself is being hailed as an icon of the current struggle between the American police state and the tremors of their abhorrent measure to kill young black Americans, which is no doubt racially and economically motivated”.
“Trees, leaves, flowers are all given the Sells treatment and become abstracted metaphors of the sacred geometry still found between light and organic materials within the aforementioned natural world.”
“These spaces now hide, move, dwindle or extinguish themselves from the aim of progressive rule. There is not an alternative.”
“I was especially interested in the ideas of modernisation and particularly the belief that we have developed in a linear fashion – always going to something better.”
“He recalls developing his negatives by moonlight, having to make his way to the ferry on a road thick with often-time un-negotiable elephant herds. He tells of carrying his chemicals with him and cutting down his negatives to get a surplus of possibilities. I never had this.”
To combine cinematography with photography, Wall took his camera out of the studio along with lights and actors with the intention ofmaking pictures with the look of films from the 1970s that would lend a sharp, documentary style to his pieces. By Graham W. Bell In 1982, Wall took his photography to the street. Combining the aesthetic […]
”He watched with curious enthusiasm as the bread rolled in the sand picking up small rocks and granules of white pebble. The flies would simply have to work harder for their meal he thought to himself”. The arrival was what he had imagined. Being a young man in a state of constant anxiety, the heat […]
“In my late 30’s and cynical beyond belief, I actually find this little book creating a new space or affection for the idea of the 60’s and 70’s that I had shelved previously under “cyclical fucking baby boomer bullshit”.
“My work in the landscape is ultimately about human culture, not about nature. I always think of landscape as historical, or historicized; as not existing outside of history.”
“He plays with the disruption in the aesthetic surfaces of our daily life and this allows him (and us) to experience a reality which might be bypassed.”
‘A compilation of five interconnected projects, Dark Rooms moves in cycles: birth and death, acquiring and discarding, the banality of routine.’
Moriyama admits that repetition is his way of working, and that his impulse to reproduce his surroundings today is much the same as it was when he got his first camera, in junior high.