Stacy J. Platt

i bring this up not because i have become stymied and inconsistent in my writing due to the fact that i know someone is looking, but because i find it worth mentioning that when one hesitates in the face of their experiment, and then when something outside of that niched out, projected-place she cre

miwa yanagi creeps me out--in all the good kinds of ways. her images carry the capacity to go from surface to psychological in lightning-quick speed, and what lay in the subconscious afterwards folds into complex unease with a lingering, distinct aftertaste...her visual problem-solving mingled with

i have come and come again to hervé guibert, roland barthes and marguerite duras, who all have much to say about memory, regret, experience and selfhood. i have visited them each differently for different reasons, but as i write here now i imagine a situation where they are all three in the same

in the introductory essay to anne wilkes tucker's encylopedic tome the history of japanese photography, the author asserts that araki and fukase both became known to the japanese because they were the first to show the "intimate homelife and personal emotional state of their subjects." i also can't

three more for the gold-leaf album: a few notes-to-self on future process: *avoid 90# hotpress.  it curls too much with the multiple layers of media, and often jams the copier. *bristol board 2ply