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The Mechanism' is a melancholic series of black-and-white photographs that form a sci-fi story about contemporary life. Bringing together images made in multiple cities, the work deals with themes of technology, surveillance and urban society. Lange attempts to trace the effects of technological developments on human experiences, using architectural tropes to build a narrative loaded with the threats and promises of the future. Cutting back and forth between close-up views and cityscapes, 'The Mechanism' offers a filmic sequence of photographs that is at once affective and estranging.
Grey Cobalt' by Felicia Honkasalo bases itself around a collection of artefacts steeped in the landscape and history of her native Finland. In a sequence of delicately arranged images, 'Grey Cobalt' contains both a meditation on the legacy left by her metallurgist grandfather and a larger, sweeping narrative of how different orders of time and memory impress themselves upon the land, like a palimpsest. Now ?rearranged and newly ordered, like a cabinet of curiosities?, together these images form a tactile experience of a lost world. Honkasalo creates multiple narratives from seemingly disparate objects, forming alternative cosmologies from her own observations and sense of the distant past. A selection of notes written by Felicia?s grandfather, and expanded upon by herself, are included as epilogue and reflection upon the book and the objects exhibited; a musing on the historical moment in which they were created and the present they in turn disrupt.0Through this sequence of images juxtaposing and complimenting one another, 'Grey Cobalt' obliquely connects personal, historical and geological traces across space and time. An accompanying long form prose piece by Ada Smailbegovic expands these traces further, using images and a fragmentary style to conjure an invisible world of objects and places.00Exhibition: Webber Gallery, London, UK (10.01.-15.02.2019).
Photographs from the vernacular and found photography collection of Peter J. Cohen.
This publication reissues a beloved photobook classic--acknowledged as such by Martin Parr and Gerry Badger in the third volume of The Photobook: A History--that has been out of print since the hardcover edition was published in 2010. As photographer Jason Fulford (born 1973) recently learned firsthand, mushrooms have a way of growing and spreading wherever they touch ground. It all started when a friend of Fulford's gave him a box, found at a flea market, full of photos of mushrooms--unassuming pictures taken by an unknown but almost certainly amateur photographer, apparently as notes for some mycological studies. Fulford's art photographs (aside from his well-known book Dancing Pictures, which depicted people getting down to their favorite songs) are usually of staid, quasi-mute objects: a smashed Dorito chip overrun with ants, two bronzed doorknobs spooning, the blank back of a street sign. Yet these mushroom images got stuck in Fulford's mind, like a bad song sometimes does, and they started to grow in his own work. The Mushroom Collector combines some of the original flea-market mushroom pictures with his own images and text by the artist about the project.
As a color, black comes in no other shades: it is a single hue with no variation, one half of a dichotomy. But what it symbolizes envelops the entire spectrum of meaning—good and bad. The Story of Black travels back to the biblical and classical eras to explore the ambiguous relationship the world’s cultures have had with this sometimes accursed color, examining how black has been used as a tool and a metaphor in a plethora of startling ways. John Harvey delves into the color’s problematic association with race, observing how white Europeans exploited the negative associations people had with the color to enslave millions of black Africans. He then looks at the many figurative meanings of black—for instance, the Greek word melancholia, or black bile, which defines our dark moods, and the ancient Egyptians’ use of black as the color of death, which led to it becoming the standard hue for funereal garb and the clothing of priests, churches, and cults. Considering the innate austerity and gravity of black, Harvey reveals how it also became the color of choice for the robes of merchants, lawyers, and monarchs before gaining popularity with eighteenth- and nineteenth-century dandies and with Goths and other subcultures today. Finally, he looks at how artists and designers have applied the color to their work, from the earliest cave paintings to Caravaggio, Rembrandt, and Rothko. Asking how a single color can at once embody death, evil, and glamour, The Story of Black unearths the secret behind black’s continuing power to compel and divide us.
Lawrence Raab's richest work to date-his saddest, funniest, most personal, and most searching book Of Lawrence Raab 's 1972 debut, Mark Strand wrote: "This is a first book with more authority and wisdom in it than most poets are able to manage in their entire careers. I am amazed by its casualness and clarity, its forcefulness, its engrossing strangeness." Mystery and strangeness remain at the heart of Raab's work, but now they are revealed more fully through the world around us-everyday deceptions, inexplicable violence, unexpected tenderness, the comedy of hope and desire. In one poem, Proust appears in Raab's class to confront a student who disputes the great author's claim that "the true paradises are the lost paradises." And in the title poem, set just before the Fall, the snake alone understands how people will come to yearn "for whatever they'd lost, and so to survive/ they'd need to forget."
'Research Methods' is a lively exploration of how to undertake research. It brings together a wide range of different approaches and invites learners to consider innovative approaches to the way they work.