(35:55) “There’s a lot of pressure on the mega-galleries. They have these tremendous overheads, and they need artists who can support those, hopefully they’re supporting them in return. What I think it changes fundamentally for some of the galleries that I respect the most is their willingness to invest in artists in a way that would only pay off over the long term, meaning giving them shows where there’s no chance of selling but which create an important foundation for the context of their work, or taking risks in other ways that you would only have done if you thought that this was a long-term relationship. So I think that then starts to change the type of art and the types of projects that galleries are willing to do. I’m a little concerned that there’s not some other platform or institution to step in and provide not only the nurturing but the laboratory, the experimental side of things.”

David Campany. “Between the Snapshot and Staged Photography.” In Photography at MoMA: 1960–Now. The Museum of Modern Art, 2015, 110-113. 

“I made love to myself in the mirror kissing my own lips. Saying I love myself. I love you more than anything.” 

https://www.printedmatter.org/about/artist-book

Akram Zaatari, After They Got The Right To Arms. Fourteen young men posing with guns. Early 1970s/2006

Arnaud des Pallières 

Tod Papageorge. “About a Photograph, New York, 1967 by Garry Winogrand.” Transatlantica 2, Aesthetics of Theory in the Modern Era and Beyond. 2014.