"Since I was a child, I've had a fantasy of hiding in a retail space just before it closes, and coming out at night to merely walk around, re-arrange some
“Takashi Homma is indebted to Robert Frank. This much is clear. He is as sick of goodbyes as are the best of the Swiss and as are the best of
"We have inherited a way of understanding events and time through images or are allowed to fashion our own prognosis of the interpretation of linear elements by looking inward and
The images remind me of the bulk of 70’s American photography. There is a bit of Arbus, Friedlander, Robert Frank, Garry Winogrand, Bill Owens.
"I came to believe that there was something more meaningful going on––something stronger and more compelling, something that seemed almost woven into the fabric of the American psyche."
@ Lisette Model Estate Model’s art is definitely antibourgeois: her judgments indict the middle class’s smugness as well as its selfishness. By Max Kozloff, Excerpt from New York: Capital of
“If you look at photos of my teenagers, beauty was a very important thing, not only for the obvious reason, but I found that the girls were so open in
“All I do know is that still photography will never be eclipsed by video, computer graphics, etc.” An Interview with Bruce Wrighton By Sean Phelan, Weekly Pennysaver, 1988 Mr. Wrighton
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The years during which Rogovin completed this series represented a period of great loss and decline for industrial labor in the U.S., especially in traditional manufacturing cities like Detroit, Pittsburgh,
Rogovin photographed what he calls “the forgotten ones” in storefront churches, the neighborhoods of the Lower West Side and Buffalo’s East Side, and in former steel mills of Lackawanna and