A principal feature that photography and music share is that of composition. Composition as it relates to the field of visual art has its history indebted to a wide variety of perspectives and of course, perspective itself. Following notations about linear sight and vision and its ability to be recorded through the technical apparatus that […]
“The general sense of doom and the proclivity towards nightmarish consequences of feast or famine natural disasters ushered in a new era in which spiritualism, cults, and Catholicism all formed an ungovernable supernatural belief state”.
“It is to accept that an image, though agreed as unable to achieve absolute status has many interpretive layers and one of these is the age of the viewer and his or her relation to the subject matter within the frame(s) conditioned by history, time and nostalgia…”
“The achievement of Donald Trump, for every ugly thing he musters to his lips, for every repellent speech and every obnoxiously hypocritical move he makes is entirely endemic of the American century and its reflection in decline”.
“Reading through them, I realised that the best ones seemed to create a kind of mental-image in my mind’s eye – which due to the tone of the text often took the form of a very deadpan, monotone, and even monochrome photograph of a little scene in small-town America; I was imagining a very straightforward picture made by Walker Evans or Lee Friedlander or Diane Arbus or others, of four dogs sitting on top of a car, or a guy standing next to a tree in the middle of the afternoon with bloody knuckles…”
The digital image is an image file. It has no form and is invisible until it gets interpreted and transformed by software or the internet user. In the process of being made visible it is staged or performed.
“A friend familiar with what I do suggested I have a look at Bachelor & Spinsters Balls – rural gatherings originally designed to overcome distance and loneliness in the bush.”
“Hamilton was deeply problematic on many levels and I reference him mostly because of the blur and grain of his pre-pubescent models. That suicide was his final intervention is no large surprise. The debate on his work was over before it started”.
“The camera was best invented for Schopenhauer.”
“It is this sand-blasted speculation or rather en-spectralization, the ghosting and subsequent miasma of capitalism as it exists in the economy of images that we regard as relative at the very least-namely the aptitude to regard photography if not truth, certainly as plausibly disagreeable in a shared system of acknowledged solutions for knowledge-based communication”
“As the project jumps backwards and forwards in time, and geographically, from one city to the next, the sequence returns again and again to Los Angeles”
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?