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Category Archives: thoughts on art and making

the art of losing love, pt.1 : words on masahisa fukase

i’ve been thinking about photographers in love, and the photographs they make while in that state. and also its shadow-twin: same photographer, making something out of a place of loss from that love. what is it to make a memory out of loss? to distill the precise ache of mourning? in photographs that become about loss‚Äîdid the losing already happen before the photo? did it happen in the course of it? is the photo then a document of loss? are these then the most documentary of all documentary images?

less talk, more looking

the manner i’ve been looking, lately. and what i’ve been looking at. birdholes, chattanooga, tennessee century plant, backyard, savannah, georgia the house next door used to be a strip club, savannah, georgia dog person pic, atlanta, georgia cat person pic (or, the cat that loves me who will not go away), savannah, georgia i’d like [...]

the philosopher and the trickster: daido moriyama and nobuyoshi araki

moriyama’s photographs consistently evoke dark, struggling identity-in-the-making. they are grainy, full of contrast, and seem to be about the eternal underside of things. araki’s photos, in contrast, seem to be puerile, joyous reaction against such moribund thoughts, and there is a playfulness evident throughout that suggests a lightness of heart that moriyama lacks. not that either is better or worse for the comparison, but that they are just…different.

Pt. 2, Thoughts on Chinese Photography (and other thoughts)

considerations in two parts: a love letter to caravaggio and some thoughts on chinese photography, pt. 1

spirit and making

starting and stopping

birds on the brain

so happenstance, structures and strategies began as an attempt to understand an artist that i had admired very deeply since i was introduced to his work. masao yamamoto is a japanese photographer that works quietly, quirkily, and, i’d like to believe, quite happily. his work fulfills many aesthetic “musts” for me: it is personal without [...]