Brassaï declares that the “bastard art of the streets of ill repute that does not even arouse our curiosity, so ephemeral that it is easily obliterated by bad weather or a coat of paint, nevertheless offers a criterion of worth. Its authority is absolute, overturning all the laboriously established canons of aesthetics”
“Photography is enough in itself for existing, and so are the many advocacies of Bliss’ photography.”
A collection of all the articles we’ve published over the past month, for those who like to savor their Magpies’ tidings as an issue.
We were grateful for the opportunity to ask Don Julien a few questions about his photography.
Photographer Ololade Koleosho believes that the lives of single mothers dwells somewhere on the “delicate balance between struggle and celebration.”
The military seized her photographs, quietly depositing them in the National Archives, where they remained mostly unseen and unpublished until 2006
“The photos not only capture the accidental Mondrian-like effect of relegation of the maintenance of building envelopes to individual tenants, they also reveal a Dorian-Gray’s-like picture of the inefficiencies of neo-liberalism and the cumulative effects of decades of rising economic inequality and shirking of collective investment in an important component of the infrastructure that enables and sustains us.”
“When we view the pictures, we are drawn into a region of borders, boundaries, and limits. When asked about this idea behind his photography, Oladele calls it the unique African way of looking.”
A collection of all the articles we’ve published over the past month, for those who like to savor their Magpies’ tidings as an issue.
Ellen Harvey’s paintings from the New York Beautification Project become a testament to the strange beauty of the ephemeral, even in the way everything decays or gets covered over with time, becoming a part of the shifting layers of history, of the life of the city.
We are grateful to share a selection of stories from the project.
