“Everything about the city made me uncomfortable and raised questions: the landscape, the atmosphere, the situation, the agitation, etc. It seemed so imperfect. I wanted to understand this chaos.” To
“It is also to remind people that the condition of “evil” or trauma exists only in the post-event and that we do not recognize, as Arendt mentions, the force of
“I remember seeing images of rock or glass candy with scorpions frozen into their sugary structure, it would not be far to think of these portraits in that capacity”
Corinne on Gloucester Place, 1993 Wolfgang Tillmans has consistently pushed back against whatever perceptions of his work seem most current. The apparition of these faces in the crowd; Petals on
“Fuck, he’s going to take up my time telling me about how he’s been a photographer since the 60’s..."
”The whole city though I am only in a neighborhood seems capable of changing its face as I am carried through it offering possibilities for omni-architectural and urban planning on
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.
A Young Man in Curlers at Home on West 20th Street (N.Y.C. 1966) Arbus uses a strong flash to create a high-contrast photograph in “A Young Man in Curlers at
"I was 28-years-old when I took my first photo, and it felt good."
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"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."