Ville Kumpulainen is a photographer living and working in Helsinki, Finland. In his new book, Out of Sight (Hatje Cantz, 2017), Kumpulainen manipulates archival images to solidify the tenuous connection between present and past, attempting to fill the gaps left between himself and his history.
“If I do something to a photograph, the viewer has an impulse to naturalize what happened, to correct the mistake.”
“If this is what this material does now, just treat it as a positive thing.“
“The absurdity of this material’s resistance made me want to work with the plastic, the peels. The plastic is part of us, part of me and my contribution, too, even if not directly. Plastic is estranged from me, but it is me.”
Faking It: Manipulated Photography before Photoshop is a catalogue for the exhibition Mia Fineman curated on early photographers’ efforts to revise their original photographs.
Boston-based filmmaker Luther Price makes consciousness-puncturing works that, viewed once, may never be seen again.
“And somewhere in this tantrum of rebellion, I started to really love photography.”
This First Proof contains a portfolio of four works by Valérie Belin.
Quinlan’s photographs picture—literally—smoke and mirrors; Beshty makes photos without a camera. They meet on a New York Chinatown rooftop to discuss their work.
There’s an inherent failure in all traditional art media; while lives and time appear to move and change, an artwork remains forever a prisoner of its own birth time, and our subsequent need to preserve and consume it.
Photographer Clifford Ross writes about his Wave Music project—the methods and equipment he uses as well as the philosophical underpinnings driving his work.
Sally Gall’s photographs explore below-ground spaces, looking not for the tourist sites, terrorist hideaways, or Wonderland worlds we might expect of caves and tunnels, but finding beauty in the juxtaposition of light and stone.
The process of making photographs is full of mind twists: upside downs, downside ups, negatives/positives, blacks/whites…The camera sees with a lens that projects an upside-down image on the ground glass of a view camera.
Roger Newton practices the photography of the unseen and indefinable by dispensing with the preformed materials of a craft and by a mastery of the archaic theories of silver and light. He’s entered a personal Lascaux and discovered the meaning of the passage of light through honey.