The dominance of official photography and the silencing effect of public history on indigenous groups have led First Peoples movements to establish “counter-archives” presenting their visual sovereignty. Amy Lonetree recounts a powerful encounter with images taken by Charles Van Schaickof of her ancestors just a few short years after what she describes as, “the darkest,… Continue reading Visual Sovereignty and the Counter-archive
Over the summer break, I visited Montauk Point on the easternmost end of Long Island and I was intrigued by the information written on a tourist pamphlet that lighthouses were the very first public works project undertaken by the United States. The lighthouse along with the one at Camp Henry, as pointed out in “Conjuring… Continue reading A decent photo of Montauk Point
Miguel Abreu Gallery’s first post-COVID quarantine exhibition pits painting versus photography. Brooklyn-based photographer Eileen Quinlan captures the nightmare of being marooned in isolation while Cheyney Thompson’s stenciled paintings complement the same sensibility by approximating the waves imprinted on driftwood. Quinlan’s snapshot of a wilderness glade, entitled Curtain Call, contemplates death and regeneration with an austere… Continue reading Heaven in a wildflower
With his statements in Towards a Philosophy of Photography, Vilém Flusser opened a new understanding of photography, and gave the term a new meaning. While he describes the photograph as a “flyer-like image distributed by the apparatus,” the Photographer for Flusser was a critic; a gadfly: “a person who attempts to place within the image,… Continue reading Villem Flusser on Artistic Freedom
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