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Original text by Brad Feuerhelm for Ocean Front Property by Mark Templeton Co-Published by Graphical and The Ice Plant For the Promise of Water This is my signaling of a complete and utter devotion to the new forms of feral tropicality. I will suggest here and now that for […]
“Ractliffe’s work, whether consciously or not, emerges at a time when the impossibility of representing experience started to gain purchase in discussions around the medium’s shortfalls.”
“it is strange for me to consider his efforts as Swedish and yet there is something to the examination of what can only be referred to as the National Camera, implicit in that sentiment are all of the complications of generalizations and archetypes. I am not trying to espouse something concrete, but rather […]
“For artists who do stage their work and find it in situ, the photographic sketchbook is virtually unnecessary as a pre-game facilitator. I would suggest though, that the photographic notebook is an indispensable tool after cheap prints have been made available” One technical tool that photographers often deprive themselves of thinking through is […]
“The historical road of photography is paved with books and bodies of work about family. It is a natural resource for making work” The historical road of photography is paved with books and bodies of work about family. It is a natural resource for making work. Emmet Gowin, Sally Mann, Judith Black […]
“Killip was a human first and an observer or lucid chronicler second” Chris Killip is known for his immeasurable and singular vision of Britain during the 70’s 80’s and 90’s. To place emphasis on his work in a genre-fied manner would belittle his and its true humanity and potential. Killip was a human […]
“The way in which we write history is tinged with this conundrum. It suggests blinders in the very least and in doing so, should compel an understanding of context that is piecemeal or limited” It’s often difficult to unpack a particular body of work or historic book that has been republished without regarding […]
“I notice the light feathery blonde hairs covering the unnaturally ubiquitous cuttings on forearms from teenage years of the Twentieth Century the world over. It exemplifies our (b)anal tragedies” Smoke began to fill the car. I wish to inconsistently cccccconsider the body’s ccccccartographic potential. Not happy to ultimately see it as […]
“One can use a camera to explore or utilise philosophy, politics, psychoanalysis and what not and this is wonderful as it broadens the scope of what is achievable with this tool. It tends to be forgotten that this is not, however, the be-all and end-all technique” When one thinks of photographic projects, which more […]
“I have assumed this focus on the found vernacular to be American in nature. However, the details of national ownership is missing apart from the rise of American modernism or the focus on its anti-thesis, namely quaint small town America advertising often hand painted and rough” It is somehow impossible not to mention […]
“The Transparencies book published by MACK is also significant in its design, the essay within and sequence of the work, which is chapterized by annual progressions through the 70’s American dream in banal (good word, word of goodness) detail” It is not often that a re-examination of the periphery of a significant […]
“The good of a book lies in its being read. A book is made up of signs that speak of other signs, which in their turn speak of things. Without an eye to read them, a book contains signs that produce no concepts; therefore it is dumb” – Umberto Eco, The Name of the Rose. […]