Mikhael Antone

(Introduction to Sense of Place by Mikhael Antone)

Excerpt: Kodak introduced the snapshot, allowing us to record our lives, and in the process, create images that could continue to haunt us. The 1960s and ‘70s introduced a certain kind of documentary photography, whereby “truth” is reflected backwards into the lens. But Antone's images are neither snapshot nor document. Rather, they represent constructions of one individual’s perceptions…..


The Shifting Meaning of Pictures

(Art New EnglandVolume 37, Issue 1)

Excerpt: Photographs surround us. They live inside our handheld telephones and tablets; they are disseminated in perpetuity across social media; they demand our attention in advertisements. In our contemporary world, photography is at an apex where its sheer ubiquity has rendered it invisible. Paper snapshots of the past are shuttled into shoeboxes in favor of digital codes that represent images on screens, which likewise get shuffled past us into file folders and our computer’s caches. Today, digital reigns.


Landing at Zero 

(Big, Red & Shiny, Volume 2, Issue 10)

Excerpt: Bruce Myren’s The Fortieth Parallel is a project of western depiction. Rooted in history, it takes cues from historic survey projects and their subsequent rephotographic cousins, Ed Ruscha’s explorations of buildings on Sunset Strip and the New Topographers’ unromantic views of the west. It is an exploration of how to picture the land when the land has already been pictured: a conversation with the past designed to teach us about our present….


Case Studies

(A collaboration with Jim Dow for the November 26, 2012 Colloquium No Dust in the Digital Archive? at the Museum of Fine Arts, Boston)

Excerpt:
The various iterations of Allie Mae Borroughs reveal little about the photographs themselves. Instead they demarcate a range of methodologies of collection, reproduction, curation and appropriation of imagery from a variety of archive sources…


Stereotypes

(Art New EnglandVolume 36, Issue 5)

Excerpt: Deriving from the artist’s commercially trained background at the New England School of Photography, the text references the glowing neon of advertising signs and the flickering of television ads. In each instance, the language traces both contemporary and historical discriminatory thought patterns, setting up an uncomfortable dichotomy between the anonymity of the portrait sitters, whom look just like anyone you might meet on the street, and the perniciousness of language that most of us do not pause long enough to consider....


C.R.I.T. Volume 4

(Introduction to Camera Records in Time, Volume 4)

Excerpt: Sometimes, looking at photographs gives me the sensation of drowning. Meaning pulls apart like the frayed rubber of an elastic band, seeming to separate but then snapping together deftly to show no signs of being stretched. Reality fissures and splits when it is documented. The camera records, but the photographer makes notations….


"El Anatsui: New Worlds" at the Mount Holyoke College Museum of Art 

(Big, Red & Shiny, Volume 2, Issue 19)

Excerpt: By using detritus that alludes to this history, the artist is in dialogue with a past riddled with slave trade and abuse. The cultural tensions that arise from colonialism express themselves in the sculptures through competing graphic shapes that are folded into and on top of each other. Sometimes, they are woven directly together Each aluminum scrap is bound to another aluminum scrap. Flattened and twisted, their shapes and meanings have been transformed, but not erased ….


1914: Magnus Plessen at the Rose Art Museum

Big, Red & Shiny, December, 9, 2014

Excerpt: Portraiture has always sought to represent its subjects as lifelike as possible, here purposely subverting itself to cover political wounds and return faces to a static representation of what they 'ought' to be. Moreover, our identities are as much constructed by invisible lines, drawn by our societies to delineate what we will and will not look at, as by the images we actually see. 


Noritaka Minami

Ain't Bad Magazine, January 9, 2013

Excerpt: While the building awaits an uncertain fate, Noritaka Minami documents it with his large format camera. This tool provides a static, scientific and academic experience of looking and analyzing. Coupled with careful framing, the photographs minimize the appearance of the artist and reveal thoughtful combinations of images that function as a document of this structure…

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