P #9
Ceci N’est Pas un Artwork
10.18.15
When is an artwork just an artwork? This essay probes this question by examining an artwork that bears the traces of a collector’s (and his daughter’s) hand, unraveling the impact that not only collectors but also curators and institutions have on the status and presentation of art.
P #8
On the Efficacy of Exposure
10.18.15
Despite increased access to evidence of police brutality and governmental wrongdoing, outrage today is not always followed by indictment. Is the story we tell ourselves about exposure going the way of upward mobility and other so-called genres of expectation?
P #7
What Does Transparency Look Like?
10.17.15
A look back at what it meant to be “alternative” in the nineties, focusing on one of the author’s favorite records, Shellac’s The Bird Is The Most Popular Finger.
P #6
Don’t Let the Sun Go Down on Me
10.17.15
A snapshot of a brightly spotlit church made by chance one spring night is analyzed through successive layers of associations, culminating in the artificially illuminated stained glass windows being read as an allegory for the semiotic conditions of the photographic image itself.
P #5
Panorama of Our
10.17.15
A fragment on media, territory, earth.
P #4
Travelling Shots
10.17.15
The more we think about this project, the more we get into a state of uncertainty. But in a positive way. Like when you're about to start on a journey that you've been looking forward to.
P #3
At Sea
10.17.15
Real replicas. Dummy doppelgängers. Carbon copycats. Dead ringer-rings. Living imaginary. Spitting imitation. Original knockoffs. False facsimiles. Perfect likeness.
P #2
Mirage
10.17.15
Sculpted water used as the branding image of a bank’s pre-paid debit card carries conflicting associations, both intentional and unintentional.
P #1
Ethnographic Photography and the Modernist Simulacra
of Tradition
10.17.15
Modernity and industrialization brought with them not only a specific mode of seeing but, crucially, a way of visually representing their cultural products.
