Hayahisa Tomiyasu: TTP, An Immoveable Feat

“In a dialogue where it is often difficult not to mention “medium specificity”, it would be fair in jest to contemplate why photography’s utility is toward change and simultaneously toward stasis. Stasis is where comfortablility lies, but this position also breeds contempt.”

Loops and Voids: A Perspective on Michael Schmidt’s Berlin Nach 1945

“Though the clues to what could be considered “absent” “voided” or “gone” are not to be entirely championed nor ignored, the work follows a circular format. It is an examination of place and home and the subject’s way of seeing the familiar and unfamiliar at the same time. This inquiry of Schmidt’s is adept if not deftly demonstrative.”

Stephen Gill: Extricating the Diurnal Impulse

“These experiences bear the uncanny weight of dissonance before visualization-the morass of the hidden nexus of a world that cannot be controlled the same as it is within the ruminating experience of daylight.”

Federico Clavarino: The Errant Future of History

“The castle, which controls the populace, does so through an absolute production of its image. It is a tale in which plebian might is as disorganized as any contemporary parallel for leading a resistance against the juggernaut who rules by fear and an unethical chess game between the citizens and the tyranny of the castle’s own image”

Brassai Interviews Pablo Picasso: An excerpt from ‘Conversations with Picasso’

Girl Before A Mirror by Pablo Picasso “People are always asking me to sign my old canvases. It’s ridiculous!” – Picasso An excerpt from Conversations with Picasso by Brassaï Wednesday 20 October 1943 The table, only yesterday covered with dust, is completely clean. Catalogs, brochures, books, and letters have been carefully dusted and even arranged by size […]

Brassai – ‘The Surrealist Observer’ (Excerpt) (1998)

Brassai always insisted that none of his photographs was posed…   By Marja Warehime, excerpt from Brassai: Images of Culture and the Surrealist Observer Brassai always insisted that none of his photographs was posed, and there is no reason to believe that he behaved differently with the toughs in the rue de Lappe then he […]

Brassai: “The Language of the Wall”

Best known for his photographs of nocturnal Paris and its demimonde, Brassai also took pictures of wall carvings and markings over three decades. Published in 1961 in the collection Graffiti, the prints were divided into sections, including painted graffiti, which Brassai titled The Language of the Wall. Brassai was interested in how the images eventually […]

Brassai: “Letters to My Parents” (1998)

  By Brassai, Excerpts from the intro to, Brassai: Letters to My Parents, 1998. I was delighted to notice in the letters that from the start I saw photography as a way to uncover and record the world that surrounded me, the city in which I lived, as comprehensively as possible. There were a good […]

Tony Ray-Jones Interviews Brassai” Pt. I (1970)

“I think education and intelligence (are) important, but not art. Not artistic education…” – Brassai   Brassai with Tony Ray-Jones, Creative Camera, April, 1970 Tony Ray-Jones: How did you start your life? Brassai: I was born in Transylvania in 1899. My father was a teacher of French literature. He lived in Paris and loved it […]