“The delivery of a seasoned jazz musician is often clear and confident even if the actual musical content is very complicated. This can also be translated into street photography: a complex scene should be portrayed with great clarity and often simplicity even if there are lots of intricate actions and nuances taking place.”
“I documented my work but also everything else I could find graffiti-wise, then the spaces where it always seemed to appear started piquing my interest. “
I too hope to raise the dead; only for me, it is symbolically through photography.
“I know that part of my attraction to a lone old car on some quiet urban street or sitting out in the desert is because it plays into a fantasy of a time after the car.”
The dowry becomes a cathartic process of mourning, remembrance and consolation.
More and more, Pennhurst’s amazing true story is is becoming buried. I like to think my little film is helping keep it alive.
“Photographing places particularly hard hit by the transition from an industrial and agrarian economy to an economy of unfettered consumption on the margins of mainstream society is a story I feel compelled to tell.”
The way Parks presents his subjects, with so much affection and clarity, we feel that we love them, and this brings home the realities of fear and injustice in a new and powerful manner.
The night has its own visual rules, its own color wheel, and its own ethereal presence. Here, in the small hours, the world we see as mundane, cascades into dream.
This exhibition highlights “third spaces”: components of an area’s social infrastructure, communal spaces outside of home and work such as taverns, church picnics, diners, restaurants, and movie theaters—sites where we might gather, if we could agree.
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