Matthew Genitempo: The New Rurality

“Instead, we are given room to ponder the possibility of the magnificent rurality that exists in wide acreage across America unfettered by the charms of free-range, gluten free, soulless vegan cafes and their elite black metal-listening clientele who wander through their doors to write tracts on their apple laptops about metaphysical post-Internet garbage for their PHD colluding with the empire of property developers and poverty to Make Harlem Great Again- Incel, Duracell, creatine cookies and a very nasty reputation for not saying hello”

Thomas Weski: Interview With Cooper Blade

“I think Michael felt the need to discuss the meaning and importance of American photography with a younger generation in Germany who had no experience with these kinds of elderly figures. The National Socialists had either killed or persecuted them in Germany, so for my generation there was no elderly generation in photography.”

Eva Maria Ocherbauer: Interview Berlin West, Haus der Tat

“Berlin was cold and grey… but we made up the “scene” an alien escape from this condition… no morals, cold and hot and cruel and shiny, all at once… excessive for sure. The free spirit of the city supplied a fertile ground for life as an experiment”

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.”

Peter Piller: Unheimlich As Above…

“A good number of the images allegedly had annotations written on the images such as “not interested in pictures”, “Deceased”, and “Looks better from the ground” written on them”

John Maclean: The Agony and Ecstasy of Artistic Influence

“In a sense I was trying to complete a circle: I travelled to the neighbourhoods that had some bearing on the childhood development of my art-heroes and consequently on the art they made as adults, and then I tried to photograph these places through the ‘afterimage’ of the artistic influences these works had imparted on me”

Robert Adams on John Gossage’s ‘The Pond’ (1986)

 One is grateful for The Pond because we are in trouble, and because irony which focuses on the ugliness of man-made juxtapositions does not at this point, by itself, help.   By Robert Adams, excerpt from Creative Camera: 30 Years of Writing (Manchester University Press, 2000) Irony, defined as unrecognized incongruity, take many forms as […]

An Interview with John Gossage on ‘There and Gone'” (2000)

“One of the things that helps me with doing a book is getting a title at some point that lets me understand its content. I mean basically, that [points to the title of the book] is what’s in here. This [the first chapter] is ‘There,’ this [the second chapter] is the transition, ‘And,’ and this […]

A Conversation Between Lewis Baltz and John Gossage (2010)

“For me the word ‘photographer’ talks about the means of delivering certain kinds of information, feelings and such. If you’re consistently focused on the means of delivery, it means you’re not getting the message across very clearly.” – John Gossage   Interview by Monte Packham Lewis Baltz and John Gossage depict man’s contentious impact on […]