"I did recognise the irreplaceable object and destroyed it and my embattled state of mind with America continues."
“This no ladder-like interaction among images possibly triggers many forms of interplay and an autonomous exchange between the work and the viewer”
'ATEM' is to use photographs for what they really are, non-representational epitaphs of moments rendered in silver with little meaning.
…the book is a small marvel that connects Silvio Berlusconi’s late night sex parties to the economy of interchangeable ways in which we, or perhaps better, Berlusconi sees the women
Is it high art? Well, put something in a museum, as they say. Some viewers are sure to scoff at what might be misconstrued as pin-up girl pics; indeed, in
It’s clear that more so than the human body, Mollino was attracted to the aesthetic abstraction of beauty as a lifestyle. By Owen Campbell, ASX, November 2014 Carlo Mollino was
Dolce Via: Italy in the 1980s (Damiani, March 2013), features photographs by Charles H. Traub, a frequent visitor to Italy during the 1980s. (All rights reserved. Images @ Charles Traub)
Photography as Art: The Involvement of the Photographer with His/Her Subject and Photography as Historical Evidence Transcribed February 9, 2001 Translated for ASX by Osvaldo Sanviti, 2013 Life goes on
Egmond am Zee, 1973 Despite exposure in Europe during his lifetime, Ghirri remained relatively unknown outside of Italy. More than a decade after his death in 1992, galleries throughout Europe
“Taking pictures, to me, is like looking at the world in a state of adolescence, renewing my stupor on a daily basis, a practice that reverses the motto of Ecclesiastes:
The pigeonhole never suited Newton: His revolutionary ability to merge what we have come to define as photographic genres is in full swing in both White Women and Sleepless Nights