What aspects of this collaboration, both Thompson’s and Reynolds’ are complicit in the same ideology and methodology of representation that perpetuates this distance between the photographic, its technological apparatus and its subject matter?
“… no matter what conjecture there is about his death on the beach of Ostia under the wheels of his own car, genital’s hammer-smashed and reeking of Vatican gasoline, throat laced with limp skin from broken bone between sand and sea, his light lingers on…” The Films of Pier Paolo Pasolini are without doubt established […]
“The impure spectacle of such visions are entitled to the epileptic alone though the corroboration of these events can be described by other seizure subscribers partially as “primordial” for lack of cohesive unanimous declaration”
“What is at work here is not that the image is iconic, but that it is graphic and SUPERFAMILIAR, which legitimizes its effect and distribution”
“The idea of art and politics co-existing is no more or less deeply problematic than the idea of them being separate. But nobody said it was going to be a picnic.”
“No it’s not!” I said, “I’m going to prove to you that it’s not. I can do this and it’s not pornography!”