“…when it comes down to making work that really sings, I don’t know if I can teach any of it. I don’t even know if I can do any of it half the time. It’s so much about failure, it’s so much about making pictures that are so utterly boring and overstated, you’re endlessly disappointed. And in that process you hopefully find something that draws you back and calls to you.”
“One of the pleasing things about being interested in photographs is that it is really perfectly OK to admit to not knowing even important groups of pictures. In a narrower specialism, say in craft pottery or in modern literary fiction or in contemporary dance, it’s embarrassing to miss first-rate stuff. In photography you can even turn the whole argument around: far from being embarrassing to have missed something, it may be that to live only with those pictures that have good kudos in your particular neck of the photographic woods is to be limited, to lack curiosity and openness.”—
“…the general population seems to be in the grip of a mania for ‘remembering forwards’ by recording their lives which, in part, seems to be an echo of this desire to identify, as well as a new way of dreaming” (Thrift, 593). Is documentary vision a new way of dreaming? Does it enmesh the “virtual” with the “physical”?”—» Documentary Vision Course MCM 0230: Digital Media
“I remember when I first started Tumblr. I used the same screen name for my Twitter handle and website, and I would post more or less the same things I do on Twitter. But that got old fast, and I discovered how easy it was to create a new blog. These days, I have almost a dozen tumblelogs: one for bots, one for my photos, one for poetry, one for translation, one for memes in civic life, one just for pictures of empty plates. Some are shared, some are just mine. Some are clearly tied to me, some float freely on the web. They are all part of my creative practice, but they exist separately, like separate studios in separate cities, allowing me to dip in and explore when I wish. Unlike my Twitter and Facebook accounts, I don’t have to worry about posting too much about any one topic at the expense of others; I can simply post as I’d like and draw the audience I’m looking for. Some of these blogs have sparked new projects and trajectories; others have faded away. Tumblr’s flexibility enabled me to test them all out in an open, public studio.”—An Xiao
“I actually went out to shoot the redwoods with very limited intentions, which is to say, I need to feel a deep sense of curiosity about a subject, a desire to know more about it, but not necessarily to know too much about it from the outset. I want to engage with subjects that I want to look at and experience, while leaving room for unconscious exploration, the development of unexpected themes, and any number of digressions that might strengthen the work and nurture my engagement. It seems there’s always something I want to look at more than anything else, and if I follow that, as I did while I worked on Redwood Saw, it can point me in the direction of a self-generating, multi-layered project that can unfold organically in rich and exciting ways.”—Richard Rothman
"Well, the Hollywood renditions of existential risk scenarios are usually quite bad. For instance, the artificial intelligence risk is usually represented by an invasion of a robot army that is fought off by some muscular human hero wielding a machine gun or something like that. If we are going to go extinct because of artificial intelligence, it’s not going to be because there’s this battle between humans and robots with laser eyes. A lot of the stories you see in fiction or in films are subject to the good story bias; there are constraints on what makes for a good story. Usually there has to be a protagonist and the thing you’re battling has to be evil, and there are going to be ups and downs, and the humans prevail in the end. So there’s a filter for the scenarios that you’re going to see in media representations.
Aldous Huxley’s Brave New World is interesting in that it created a vivid depiction of a scenario in which humans have been biologically and socially engineered to fit into a dystopian social structure, and it shows how that could be very bad. But on the whole I think the general point I would make is that there isn’t a lot of good literature on existential risk, and that one needs to think of these things not in terms of vivid scenarios, but rather in more abstract terms.”
“For outstanding examples of tamed art, you needn’t look further than the Hirshhorn’s basement. There, Barbara Kruger’s giant anticonsumerist slogans cover the floors and walls, “MONEY MAKES MONEY” on one escalator and “YOU WANT IT. YOU BUY IT. YOU FORGET IT.” on another. They’re blunt, leaving little to the imagination; it’s advertising against advertising, and good work at that. But the room’s punchline is off to one side: Here the giant slogans are miniaturized and made portable on T-shirts and tote bags. You can actually buy “I SHOP, THEREFORE I AM” on a postcard. No art show, even at a state-supported museum, is complete without the merch table.”—U.S.Ai. – The New Inquiry
What are the pros and cons of your studio ? The pros are that my studio is in my apartment. The cons are that my studio is in my apartment. There is always the chance that you will end up doing photoshop wearing only underwear.
“The daily encounter with reality, the fictions, the surrogates, the ambiguous, poetic or alienating aspects, all seem to preclude any way out of the labyrinth, the walls of which are ever more illusory… to the point at which we might merge with them… The meaning that I am trying to render through my work is a verification of how it is still possible to desire and face a path of knowledge, to be able finally to distinguish the precise identity of man, things, life, from the image of man, things, and life.’”—Luigi Ghirri
“The artist Karen Schiff proposed that we use the term “consideration” instead of “criticism” when discussing artwork. Consideration is “not just a kinder, gentler” form of criticism, she said. She noted the etymology of the word includes looking at the stars. A critic should be an “analyst” of art, she said, using artwork as a source of information instead of relying on supplementary text. “There’s always more to discover,” she said.”—Eye Exam: Words of Wisdom | Newcity Art
“The man behind (or rather, in the middle of) Donlon Books is Conor Donlon. After working for Wolfgang Tillmans for six years he started the venture, initially connected to Herald Street Gallery but then later in a beautiful old shop in North East London. Conor, although not wanting to alienate his customers, says he finds the photography world ‘very narrow in what it appreciates’ (a sentiment echoed by Brian) and that ‘ninety percent of the books that Steidl produce are just a little bit dull’. In a nice, if rather unexpected, synchronicity with another interview he even complains that the photo world is made up of 40-year-old men (notwithstanding his own proximity to that club).”—New Wave 4: Donlon Books | source.ie