2) everything else

beyond my first flush of shock and thinking that this is a photograph i'd never imagined she'd make, i have come instead to see that this image is really a prelude to all the other photographs that i have come to know as arbus's--touching, vulnerable, a little skewed--as if she made this one imprint

what was so extraordinary about black box was that it managed so many things that art usually so stupendously fails at dealing with: things that have to do with politics both past and present; cultural guilt and grief; memory and forgetting; the evocation of universal themes and then the subsequent

to have the knowledge that you seek a particular vein of something is to be aware of not only your tastes, but what influences you, creates bias and division, separates one set of

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