Full Article with More Images on Patreon It is essential to understand the biography of Tomatsu to understand what the emotion of rage or anger may be prevalent in his work. As a pubescent teen during the atomic bombing of Japan and the subsequent end of the Second World War, Tomatsu recalls the occupation […]
Full Article on Patreon So, the dig at post-industrial decay has put a giant bee in my bonnet. But what should I expect about the unspoken class issues that revolve and permeate through and in photography these days? I mean, if you have a New York-London-based photographer stat in your bio and are in […]
“The phrase “necessary fictions” both characterizes state-created realities, whether simulation in the military training context or the deployment and consumption of fictions in civilian society, and also comments on the documentary form.”
“I exhibit a strange tendency in airports to curse, eyeball other people with malice and regard the general process of shuttling and hefting my mass through antiseptic tunnels and bizarre space age flat Jetson walklavators with contempt…” A commonality between train stations and photography is the architecture of waiting. Waiting can be read in […]
“Othering of the loser of a war is important for collective consciousness and acts as a bulwark against the tide of human sympathy in the matters of inhumane consequence” There are a number of different ways to approach writing about photography and World War II and to be clear, none of them should consider […]
When violence broke out in Ukraine in 2014, many young people left, while the elderly stayed behind just barely surviving. After almost five years of conflict, large areas of the Donbas region, which includes a 500-km “contact line”, remain under the control of separatists amid a war that has displaced more than 1.5 million with […]
“The ability to disseminate information via photographic images, no matter their actual content, will to representation, or state of factual existence has provided us with what we are currently experiencing in contemporary times as media language and the post-truth image”.
“I think that this is an argument that needs definition and that in doing so, following it up with the above analysis mentioning of colluding Nazis to the smell of shit and gay activity to the Nazi and his shitting, we are reducing gay men to shit smelling Nazis whose sexuality is thus limited and demonized incorrectly”
“Though the clues to what could be considered “absent” “voided” or “gone” are not to be entirely championed nor ignored, the work follows a circular format. It is an examination of place and home and the subject’s way of seeing the familiar and unfamiliar at the same time. This inquiry of Schmidt’s is adept if not deftly demonstrative.”
“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 its implication while it is being formulated”