“Puk Damsgård’s unadorned chronicle of Danish photojournalist Daniel Rye’s capture, confinement and eventual release delivers a lesson as astringent as medicine: in the modern era of irregular warfare, battlefields are no longer demarcated by flags or trenches but by ideology and memory. Beyond bombs and drones and Kalashnikovs, wars are now fought via emotion and media, perception and pressure. The modern front is personal.”
“Whether conscious or not, any participation in social media is inherently an act of curation. In an effort to present a specific image to the rest of the world, one naturally picks and populates the contents of their various feeds. After years spent observing and enjoying the social media feeds of her peers, photographer and curator Linda Dorman realized that these streams of information can offer a window into another aspect of artistry. Social media can be something akin to the turning of a gem, with new facets, angles, and lights reflecting from it.”
Conversations with artist and ACT UP videographer Rudy Lemcke—who has work in Art AIDS America—while living in the Bay Area first got [show curator Danny] Orendorff thinking about the intergenerational divide with the epidemic. For some, it was a war lived on the front lines, with the casualties to match; for others, a terrible but foggy memory of a tragic past. And for populations underserved by institutional efforts to treat HIV/AIDS, the epidemic has never really left, hanging on their eaves and haunting their communities.
“Rather than shooting away and then gathering names and information, Schukar spent time with the protestors, learning about them and why they were there. The information informed her photos, becoming images of people rather than Pipeline construction and protests. “I’m much more interested in people than I am in photography,” she says.”
“Take, for example, the soft shades of green shot through “Stephanie – 1966 Suzuki Bearcat B105p 118cc,” or how the hot mist of the pyroclastic flow of the burnout in “Melissa – 1975 Honda CB400″ echoes in the pattern of her plaid shirt, the distress of her denim jeans, and the gleaming rubber of her boots, tires, and seat. She wants the women comfortable and showing off their vehicles; Vaun will postpone shoots if a favorite bike needs work, rather than have them shoot with a friend’s. The agency is completely returned to the rider.”
“Their borders are fringed, cloudy, a particulate demarcation of crimson gnats, and that fuzz is really what the fuss is all about, an adroit—if blatant, once one sees it—analogue to the fungible nature of perception, memory, and self; there are images contained within the blood brumes, although it is only by the grace of Angel Otero’s exposition that we are privy to this, as they have been translated, riven, reconstituted, and then pressed—like a witch!—into their current, beautifully abused form; these were photographs once, the ultimate form of mimesis, until a triturator has placed his hands upon them, riven them, splayed them…and look at the bloody, powdery mess made of ipseity now!”