I like to think imagination is a force that can change mentalities. Working between the archive and the fictive is a way I have found over the years to somehow stretch the limits between a so called objective or imaginary construction of our natural and social worlds.
Eggleston offers no instantly gratifying answer. In fact, whenever he can, Eggleston actively disposes of any extraneous reference point, any ideological crutch, any clunky expository framework that would comfortably account for what is—simply, plainly—the act of creating images.
There is no intermediate negative or printing process. It’s always seemed significant to me that the very same light that bounced off the sitter’s face passed through the lens and exposed the plate. That immediacy, to me, is the essence of photography.
The American landscape is so vast. There’s so much to explore. Every summer, I would just chip away a part of America. We would hit the road and shoot for three months straight.
I am interested in the genius loci, the sense of place. I try to learn in a way in which place can be apt to imagine or understand the future.
Light Blue and the Same Red tells the story of Adeline and Madeleine, two girls in their twenties who share an apartment in West Harlem, New York City. Eryn Shaffer records their daily lives full of art, romance, friendship, and the constant exploration of growing up.
Hello and welcome to another episode of the Musée Podcast. We are back with the photographer Nick McManus. Listen to us discuss photography, polaroids and new projects in this week's episode!
Mirror, Mirror is a project where Leda Costa photographs people's expressions as a response to six questions. She uses a double sided mirror where each subject is forced to look at their own reflection rather than the photographer or the camera.
I realized with my last two projects that I understood that I was talking about a specific theme after finishing it. I need to have something that I need to discover or identify through the process of creating it. If the way to its core is simple I am not longer interested. That's why I was so into Somewear, because it was like a visual game. Also I need to have a clear aesthetic approach with supports an idea and makes it stronger.
Many artists, including myself, have gone back to older ways of devising pictures. It’s a way to reset the original love for it—I think that’s part of it.
There is a difference between men and women that is not just physical but energetic; we both have strengths that can be attributed to gender, yet society has unfortunately dictated gender roles that don’t always coexist with our own personal identities.
On the 5th of August 2010, at twenty-nine years, Chris ended his own life. Husband to Alana, my cousin, he was family.
Musée Magazine, is a non-profit organization. To remain free online, we require hundreds of hours of labor per month to research, write, and sustain.
Please consider supporting Musée Magazine with a tax-deductible donation of your choosing, whether that be big or small.