2) everything else

perfect images, written photographs and the absolute

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

correspondences

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

good things in threes

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

getting it

a venn diagram i've been (a)musing over the past couple of days. it's probably troubling (and telling) that i can't quite commit myself to one sphere.

The Art of Losing Love, pt.2: Seiichi Furuya and Christine Gössler

i first came to seiichi furuya through his most famous image, the contact sheet that shows his wife's suicide, or more precisely, shows him showing us his wife's suicide. and then coming to him through all the questions which follow such a fantastically passive event. is it mediation? astonishment?