[the gym is] NEUTRAL TERRITORY

a new publication I made with the donut shop will be available at the Chicago Artist Book Fair http://cabf.no-coast.org/  Nov. 16-19th

Chauncey Hare, Protest Photographs

“I was employed as an engineer for twenty-nine years, but not by choice, because choice wasn’t involved in becoming or remaining one. Long before starting my first year of college I had acquired form my parents a fearful impression: work was a hardship to be endured, and there was not better, safer way to make an income than to become and engineer.  That I would be come an engineer was both expected and unspoken by my father, who was himself an engineer.”  

(via Exposure: ​Terttu Uibopuu)

Mark Steinmetz reviews Photography at MoMA 1960 - Now

“The number of photos in this book where the camera is used for casual note-taking seems unduly large. The vantage point is neutral; the craft is “de-skilled,” to use a word curator Roxana Marcoci uses to describe Ed Ruscha’s impersonal approach. So many of the book’s photos were made either under studio lights or indoors often without a detectable source of light. A surprising number of the outdoor photos selected seem oddly muted as well, as if stronger light would just get in the way. The light has been neutered. Few images feel buoyant; few feel intimate. Many have an experimental, laboratory-type feel or are modern day iterations of the design-driven Bauhaus – sometimes sparks are set off and some of the pictures do have flare; many are serial/sequential.”

So does Charlotte Cotton 

Chloë Sevigny on the Life and Style of Robert Mapplethorpe

I made some pictures for Seth Ferranti’s article about Serial Killer Culture in the November Print Issue of Vice Magazine out yesterday.

Thomas Demand ‘‘Clearing.’

Memories of Things Unseen

http://www.nytimes.com/2015/10/18/magazine/memories-of-things-unseen.html

“Photography is inescapably a memorial art. It selects, out of the flow of time, a moment to be preserved, with the moments before and after falling away like sheer cliffs. At a dinner party earlier this year, I was in conversation with someone who asked me to define photography. I suggested that it is about retention: not only the ability to make an image directly out of the interaction between light and the tangible world, but also the possibility of saving that image. A shadow thrown onto a wall is not photography. But if the wall is photo­sensitive and the shadow remains after the body has moved on, that is photography. Human creativity, since the beginning of art, has found ways to double the visible world. What photography did was to give the world a way to double its own appearance: The photograph results directly from what is, from the light that travels from a body through an aperture onto a surface.Thomas Demand ‘‘Clearing.’’ 

CreditThomas Demand/VG Bild-Kunst, Bonn/ARS New York”