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Primal Sight
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Newflesh
"What does queerness look like beyond the body? 'newflesh', a new project published by Gnomic Book in September 2019, will challenge conventional notions of gender and identity studies. A collection of works by 68 artists, and essays by Charlotte Cotton and Ashley McNelis, 'newflesh' hopes to reclaim certain ideas of what queer is capable of. All too often, the body is used as a form of control. The works in newflesh ascend peculiarity and convention. It's by removing titles and preconceptions that these works question the expectations around photography that deals with the body. It's my hope that making room to question the status quo in this way will lead to new paths of equality and interactions between us as individuals. New concepts and conversations may be hard, but it is time to start having them. The artists in newflesh abstract the subjects and materials they use. These works embody a mastery of what is possible in front of the camera, as well as technologically once the photo has been made. These images force us to look beyond the familiar, so that we may see them for what they could become."--Publisher's description.
Plato's Dogs
For over two years, photographer Thomas Roma mounted his camera on an 8 foot pole and projected it out and over the dogs at a dusty Brooklyn dog run in order to photograph their shadows.Plato's Dogsis simultaneously foreign and familiar in its depiction of its subjects. On one hand, the dogs look little like themselves in the pictures, distorted and featureless in their silhouettes. But on the other, they appear truer to their essential self, their primitive substance and oddly-given the misleading nature of the shadow in Plato's cave allegory-closer to their Platonic form. Looking through the pictures, one shadow wilder than the next, it's hard not to come to view the canines' shade as their spirit-an outward projection of how they see themselves for those precious hours when they're off the leash at the park, self-actualizing. (Notably, in their obscured rendering, their collars disappear.) Some resemble fearsome wolves, some stoic water buffalo, and some a new breed of creature altogether, but never a pet, never the animal that will later sleep at the foot of your bed.
Women Photographers and Feminist Aesthetics
Women Photographers and Feminist Aesthetics makes the case for a feminist aesthetics in photography by analysing key works of twenty-two women photographers, including cis- and trans-woman photographers. Claire Raymond provides close readings of key photographs spanning the history of photography, from nineteenth-century Europe to twenty-first century Africa and Asia. She offers original interpretations of well-known photographers such as Diane Arbus, Sally Mann, and Carrie Mae Weems, analysing their work in relation to gender, class, and race. The book also pays close attention to the way in which indigenous North Americans have been represented through photography and the ways in which contemporary Native American women photographers respond to this history. Developing the argument that through aesthetic force emerges the truly political, the book moves beyond polarization of the aesthetic and the cultural. Instead, photographic works are read for their subversive political and cultural force, as it emerges through the aesthetics of the image. This book is ideal for students of Photography, Art History, Art and Visual Culture, and Gender.
Keeper of the Hearth
This lavish book marks the 40th anniversary of Barthes' renowned work Camera Lucida in 2020. Artist Odette England invited 199 of the world's best-known contemporary photographers, writers, critics, curators and art historians to contribute an image or text that reflects on Barthes' unpublished snapshot of his mother, aged five. This snapshot is known as the winter garden photograph. Barthes discusses it at length in Camera Lucida, but never reproduces it. It is one of the most famous unseen photographs in the world.
Y. W. R. A. A.
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Nadav Kander
Rooted in an interest in the 'aesthetics of destruction', Nadav Kander's most recent project Dust explores the vestiges of the Cold War through the radioactive ruins of secret cities on the border between Kazakhstan and Russia.
Contact Sheet 212
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