From September 2008. I just finished reading Teju Cole’s Blind Spot a week or so ago. This feels like the kind of picture that might have been found in that book, though it lacks his mordant, poetic observations.
Billed as the largest art space outside London, The Turner Contemporary (named for JMW Turner, the English landscape painter) was somewhat disappointing from the point of view of how much art there was to see. Here I’ve shown images that are mostly more about the space and the light than the exhibits. Click any image to see them all enlarged.
Here we see Barbara Kruger using my own technique – they say imitation is the sincerest form of flattery, though I doubt she’s ever seen my work.
more from the Barbara Kruger exhibit
Images projected on translucent LED panels
The Brooklyn furniture store, back in January 2004, and mentioned in my last post, was big on screens and nets and meshes of all types. I photographed the whole family through some screen or other, directly as jpegs on the Dimage A-1.
Shot with a long lens with a small aperture through a window screen …
My high school classmate, Richard Lachmann, at Verso Books on Feb 12th, expounding on his new book, First Class Passengers on a Sinking Ship, a sweeping analysis of imperialism and hegemony in the capitalist age and the inexorable decline of American hegemony as our oligarchs extract what they can. I love the infinite regress of the screen behind them showing itself. Is this a metaphor for something?
Jamel Shabazz is a tremendous documentary street-photographer, particularly of the black experience in America over the last several decades. His is the kind of work I aspire to. Charlie Ahearn made a tremendous film about his life and work and they both talked about it at the Schomburg Library last Monday, Shabazz with incredible passion and intensity.