Dave Heath – One Brief Moment Review by Simon Bray Within the opening pages of Dave Heath’s ‘One Brief Moment,’ there is a certain air of occasion. Gathered masses fill the middle of the street, suggesting that these are not singular moments but a crowd united by a collective sense of anticipation and […]
“Photography is bound to the world, and to time and circumstance, in a way that no other medium is. The technology is constantly evolving, as is the world, and the inevitability of these changes is part of the photographer’s relationship with her or his medium. Arguably, the most interesting photographers are those who never ‘mature’”
“Bey’s subjects don’t pose for the picture—they inhabit it.”
“What do the citadels of disaster capitalism tell us about our New World Reich-The Trump Tower, but also the Lehman Brothers buildings, the ING Insurance Corp building, the Rockefeller Center etc? It tells that Epcot Center looks great on bath salts under all those gleaming lights and mirrored windows-prohibitive to the many, inviting to the few”.
“On one hand, the experience exists totally outside of language. I am not surprised that we struggle to describe it, and relegate it to some other, private realm.”
“On a functional level, and trying to remove myself from the subjects involved, what “Billie” does besides pull on your emotions is to punish photography in a small way…”
“Since I was a child, I’ve had a fantasy of hiding in a retail space just before it closes, and coming out at night to merely walk around, re-arrange some things, and maybe sit or lay on some furniture, nothing harmful whatsoever. Snow Cab felt like a fulfilment of that childhood fantasy, within a 6 floor, or 60,000 square foot retail space.”
“Takashi Homma is indebted to Robert Frank. This much is clear. He is as sick of goodbyes as are the best of the Swiss and as are the best of photographers”
“We have inherited a way of understanding events and time through images or are allowed to fashion our own prognosis of the interpretation of linear elements by looking inward and at the spaces between images…”
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.
“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.”
@ Lisette Model Estate Model’s art is definitely antibourgeois: her judgments indict the middle class’s smugness as well as its selfishness. By Max Kozloff, Excerpt from New York: Capital of Photography, 2002 Model’s art is definitely antibourgeois: her judgments indict the middle class’s smugness as well as its selfishness. For example, she depicted […]