photography criticism

http://cphmag.com/about-criticism/

“Ultimately, much like it’s not an artist’s job to make us feel good about ourselves, it’s not a critic’s, either. Of course, that’s where criticism tends to get into trouble. It might point out that what a large number of people might enjoy is actually complete crap, given certain criteria. Reactions to that kind of criticism do not tend to be kind. A critic will simply have to live with being called all kinds of things – much like an artist.”

silicon valley and photography

http://cphmag.com/blogging/

“The key for all of this is who is in the driver’s seat. If you’re happy with being a passenger and with having to change vehicles usually the moment you’ve become a bit comfortable, then stick with Silicon Valley’s boom-and-bust cycle. If that’s not what you want, going back to blogging is likely to give you a lot more agency. If you want to change your blog it’s you doing it, not some people who decide for you that starting tomorrow you will just see things differently, sorted now by what makes best sense for advertizers or shareholders.”

the power (and challenge) of photography, the unreasonable apple and the absence of loss

http://cphmag.com/challenge/

http://cphmag.com/graham-whales/

https://www.duckrabbit.info/2013/11/the-power-of-photography/

https://www.duckrabbit.info/2015/10/the-absence-of-loss/

“Whenever I talk to people who are not part of the world of photography, many of the concerns that appear to give theorists or photographers endless nightmares simply don’t appear to exist. Too many photographs? Who says so? Can there be a thing such as too many photographs, and why would that even be a problem?”

“It’s obvious that everybody reacts to art from their own points of view, their own preferences, this writer included. Still, I just wish Paul Graham’s work were just a little bit flawed, a little bit less careful, less cerebral. That said, unlike, say, Thomas Demand’s work Graham’s never drowns in its own artifice, leaving behind the feeling that what we’re really supposed to admire is the maker’s skills, not the work.”

“The inherent flaw in this idea is its assumption that because an image seems ‘banal’ it has no significance. I think the opposite. I’ve learned the hard way that images don’t just have ‘width’ and ‘height’ as these pundits would have us believe. They have ‘depth’ too, often many layers, unseen, unknown, and unguessed at by a casual viewer.”

The gestures of photography

http://cphmag.com/gestures/

“The age of innocence is long over in photography. There have been way too many photographs made for anyone to be able to innocently take a picture anywhere. Yet all too often we go about photography — the making of as much as the looking at — as if all of that stuff in the medium’s history never happened. That can’t be. It can’t be for cultural and/or societal reasons, and it can’t be for photographic reasons.”