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Rendering Unto (Irene) Caesar

Irene Caesar, engrossed in her process, seems entirely oblivious to my discomfort, even when, quietly, I give verbal indications thereof. Crouching, kneeling, sometimes squatting on a soft-sided suitcase of mine, she appears to have entered a trance state in which she channels the spirit of David Hemmings in Michelangelo Antonioni’s 1966 film Blow-Up. Squirming around to adjust her vantage point, she calls out, repeatedly, “Give it to me! Give to to me! Show me your eroticism!” […]

Election 2016: Image World (5b)

With their let-’em-eat-cake attitudes, the Republic Party threatens 45 million people with plans to take the food out of their mouths, while derogating them for their inability to feed themselves. That’s a powerful image of themselves for the GOP to project. Let’s see how well it serves them on November 8. […]

Election 2016: Image World (5a)

Taking the “food-stamp challenge” over a three-month period, I discovered that, even in the relatively expensive urban environment of one of New York’s outer boroughs, a sum between the average and maximum monthly SNAP allotment ($135-200) could provide sufficient healthy food for an adult with no special needs who shops carefully and prepares his own meals at home. […]

Because It Feels So Good When I Stop, 2 (1974)

The language currently applied to photographs as distinct from other kinds of images is derived entirely from the jargon of technique; it is a form of shop talk which pertains to the manufacturing of photographs as objects rather than to their workings or effects as images. […]

Because It Feels So Good When I Stop, 1 (1974)

It is impossible to discuss the “problems of photography criticism” as though they were clearly formulated and widely agreed-upon issues, consciously faced by a diversity of critics familiar with each other’s relative positions, and known to an audience engaged in active observation of critical interactions and the concepts emerging therefrom. This is very far indeed from being the case. […]