I always felt you can’t make that many good pictures a year. A friend of mine went to Europe for about six months; he came back and he said, “Let’s see what you’ve been doing.” I said, “I’ve only got one picture that’s any good.” And he looked at it and said, “Well, it’s worth a year’s work.” […]
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Wynn Bullock’s ability to reconcile both these approaches to photographic praxis, the European and American versions of modernism, has few parallels in the field. The consequent breadth of his investigation of the medium makes him one of the most experimental photographers working in the U.S. in his time. […] What Coleman did for us, and certainly for myself as a future photo educator and curator, was to instruct us by example never to ignore the forces that propel the visibility and inclusion of certain photographers over others. […] There was an official designation for the entire object (image plus mat plus backing board plus frame) which I held in my hands, and the appropriate nomenclature was right there in big letters on a white label pasted to the back. “WALL ACCESSORY,” it said, just like that, and in a flash I knew that I had found not just a bargain but a metaphor. […] |
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Fall Back: Bits and Pieces 2021
I took the summer off to take care of other business and regroup my forces. I also hoped to relax, but the total lunacy that surrounds us now — which began with The Donald descending the Trump Tower escalator in 2015 and has mainlined steroids — made that impossible, at least mentally.
No man in […]