All of the images have been collated from the Internet and are displayed spread by spread.
These are real people, with real happiness in their lives, and that makes a fool of the reader for prejudging them by their surroundings.
It is clever enough to remain completely autonomous and lacks the problematic discourse of “trying too hard”.
Michelle Tagliaferri’s “Grass” is book of natural gravity and beauty. That is to put it simply.
“It is thus, my most coveted photography book of the year in its qualification as unspeakable language and the glory of the potentially transcendental image.”
Philip-Lorca diCorcia on ‘A Storybook Life’: Circular Narratives, Dream States and Doing What You Like
“I was drawing upon things that I’ve learned and those are not necessarily intellectual things.” Dorian Devens and Philip-Lorca diCorcia, 2003 PLDC: I don’t consider myself to be an intellectual, you know, I think I’ve met enough intellectuals to know what a really smart person is… analytical I might be, but, you know, one […]
Axel Hoedt’s “Dusk” is a real enemy of the cross – a concise and metaphoric look at the subjects of the Swiss and Austrian tradition of carnival.
History has been kind to Martin Kippenberger. Following his untimely death in 1997 at the age of 44, the art world scrambled to retrofit Kippenberger into the Postmodernist canon.
Presented as a trip through Tokyo, perhaps even snapshots of one wild night out, Tokyo Blur shows the reader a clear view from a back-row seat.
“I come in a bit closer. So it’s not a play; it’s a macro-play that I’m dealing with. It’s a macro-play that I create with my own intrusion into the scene…” “Grim Street” is a selection and book of photographs by street photographer Mark […]
It could be said that Robert Rauschenberg and Andy Warhol have created a bastard child where trash and glitter are king of the streets, but have moved into the studio for the purposes of re-creating consumer waste in artistic practice. By Brad Feuerhelm, ASX, June 2015 Beni Bischof’s a product of his generation. His […]
William Klein was invited to Tokyo in 1961, where he shot for three months and made more than 1,000 pictures.