MachineMachine /stream - tagged with photography en-us LifePress <![CDATA[Sonia #148 Mark Fisher | RWM Radio Web MACBA]]>

The cultural impact of Mark Fisher's work continues to grow years after his death in 2017....

Mon, 16 Mar 2020 02:21:35 -0700
<![CDATA[Hito Steyerl | Politics of Post-Representation «DIS Magazine]]>

From the militarization of social media to the corporatization of the art world, Hito Steyerl’s writings represent some of the most influential bodies of work in contemporary cultural criticism today.

Sat, 14 Apr 2018 05:54:20 -0700
<![CDATA[Why Time’s Trump Cover Is a Subversive Work of Political Art - Culture –]]>

Time Magazine’s annual “Person of the Year” announcement is, year after year, grossly misunderstood.

Fri, 09 Dec 2016 11:21:25 -0800
<![CDATA[Study Links Police Bodycams to Increase in Shooting Deaths - Law Blog - WSJ]]>

In the wake of high-profile police shootings, the Obama administration has encouraged local police departments to equip their officers with body-worn cameras.

Wed, 17 Aug 2016 12:04:13 -0700
<![CDATA[The Next Revolution in Photography Is Coming]]>

Stephen Wilkes

Tue, 16 Feb 2016 08:17:47 -0800
<![CDATA[What is 21st Century Photography? | BLOG - The Photographers' Gallery]]>

In this newly commissioned essay, Daniel Rubinstein answers one of photography’s most complicated questions.

Sat, 04 Jul 2015 16:21:39 -0700
<![CDATA[How Photography's 'Decisive Moment' Often Depicts an Incomplete View of Reality | January 2015 | Hillman Photography Initiative]]>

Photojournalism can be like “trying to play Rachmaninoff while wearing boxing gloves,” as former photojournalist Simon Norfolk put it.

Mon, 02 Feb 2015 11:13:51 -0800
<![CDATA[The Triumphant Rise of the Shitpic - The Awl]]>

In the first chapter of his book, After Photography, digital photography theorist Fred Ritchin explains the central selling point of digital over analog: Digital is based on an architecture of infinitely repeatable abstractions in which the original and its copy are the same; analog ages and rots,

Thu, 18 Dec 2014 01:48:00 -0800


Tue, 09 Dec 2014 03:58:22 -0800
<![CDATA[The life of a hoarder - Boing Boing]]>

Corinna Kern documented the life of George Fowler, a compulsive hoarder. In her photographs is "a closeness between the young woman behind the camera and the old man in front of it." [Itsnicethat via Digg]

Sun, 10 Aug 2014 04:15:42 -0700
<![CDATA[It's Nice That : Photographs document the life of a hoarder with smiles and sadness]]>

Corinna Kern: George’s World

Sun, 10 Aug 2014 04:15:15 -0700
<![CDATA[Gregg Segal photographs people with a week’s worth of their trash in his series, “7 Days of Garbage.”]]>

The United States has a trash problem. According to the U.S. Environmental Protection Agency, the average American produces more than 4 pounds of garbage per day. That’s more than double the amount produced in 1960, and it’s 50 percent more than the amount produced by Western Europeans.

Mon, 14 Jul 2014 00:43:35 -0700
<![CDATA[Photomediations Machine | The ethical force of photographic mediation]]>

Given that mediation is, like time (or, indeed, life itself), both invisible and indivisible, any attempt at its representation must ultimately fail.

It seems that the intellect can therefore understand photographs but it cannot understand photography; it can understand media but not mediation.

Sat, 12 Jul 2014 02:38:26 -0700
<![CDATA[Gregg Segal photographs people with a week’s worth of their trash in his series, “7 Days of Garbage.”]]>

The United States has a trash problem. According to the U.S. Environmental Protection Agency, the average American produces more than 4 pounds of garbage per day. That’s more than double the amount produced in 1960, and it’s 50 percent more than t...

Sat, 12 Jul 2014 02:38:23 -0700
<![CDATA[Journey to the Centre of Google Earth - Simon Sellars]]>

This essay was commissioned by Anne Hilde Neset for Only Connect Festival Of Sound 2014: J.G. Ballard. It was published in the Only Connect catalogue, May 2014. Thank you to NyMusikk and Only Connect for permission to republish it here.

Mon, 23 Jun 2014 04:53:03 -0700
<![CDATA[Black Diamond]]>

I was commissioned to write the essay for Mishka Henner‘s solo show, Black Diamond, at Carroll/Fletcher Gallery, London. The exhibition will run until 31st May, 2014. Excerpt from the essay : If linear perspective centred the World on the Earthly beholder – rendering the artist, viewer or owner of a painting as master of all they purveyed – then its replacement, a tumbling or “dynamic viewing space” imposes a kind of vertigo on the subject, causing us to misjudge the social and political ground of our perceptions. Henner’s 51 US Military Outposts places viewers in the position of Gods above a toy-like World, the fidelity of which is wholly reliant on the resolution of the sourced images. In line with his Feedlots and Oil Fields series, the resolution of the images – appropriated from Google Earth, and painstakingly stitched together – gives us a clue as to where their socio-political ground is located. Just as a pixel attains significance only within the context of the image grid, so the relatively plain surface of Earth is politically meaningless, is without form and void, until its geometries and textures, its biological traces and material densities, are caught and defined in the vast, inconceivable, territories of the database. Download as PDF More info : and

Mon, 28 Apr 2014 08:32:33 -0700
<![CDATA[John Stezaker: 'cutting a photograph can feel like cutting through flesh' | Art and design |]]>

“Collectors of cinema memorabilia have a name for anonymous actors who were photographed for publicity stills, but never actually made a film," says John Stezaker. “They call them 'virgins'. When I go to collectors' fairs, it's the virgins I'm after.

Wed, 02 Apr 2014 17:27:50 -0700
<![CDATA[Precious Commodities]]>

Exhibition trailer for the Precious Commodities show at Open Eye Gallery, Liverpool, 2 March-5 May 2013. For more information, visit Mishka HennerTags:

Mon, 31 Mar 2014 09:25:22 -0700
<![CDATA[The Photographic Universe | Photography and Political Agency? with Victoria Hattam and Hito Steyerl]]>

The Photographic Universe II brings together a range of leading practitioners, scientists, theoreticians, historians, and philosophers to consider and reflect on current discussions in photography at a pivotal moment in its history. The unique format of the conference will consist of one-on-one conversations between two individuals from disparate professional and research backgrounds. The conference will conclude with a roundtable focusing on photographic education. Learn more |

Victoria Hattam (born 1954) is an Australian-born American political scientist, noted for her research on American political economy and political development, and on the role of class, race and ethnicity in American politics. Hattam recived her PhD in political science at MIT in 1987. Her doctoral dissertation on "Unions and Politics: The Courts and American Labor, 1806-1896″ was awarded the E.E. Schattschneider prize by the American Political Science Association in 1989 for the best dissertation on American government and politics. Hattam's revised dissertation was published as her first book, Labor Visions and State Power (1993) and examines why labor has played a more limited role in national politics in the United States than in other advanced industrial societies. Hattam taught at Yale University from 1987 to 1993, and was a visiting scholar at the Russell Sage Foundation from 1997 to 1999 and a member at the Institute for Advanced Study in Princeton for 2000-2001. She joined the political science faculty at The New School in New York in 1993 and is presently a professor and chair of the department. Hattam is president of the Politics and History Section of APSA for 2006--2007 and is a member of the editorial board of the journals International Labor and Working-Class Historyand Studies in American Political Development.

Hito Steyerl has produced a variety of work as a filmmaker and author in the field of essayist documentary video. Her principal topics of interest are media and the global circulation of images. In 2004 she participated in Manifesta 5, The European Biennial of Contemporary Art. She also participated in documenta 12, Kassel 2007, Shanghai biennial 2008, and Gwangju and Taipeh biennials 2010 and was the subject of numerous solo exhibitions [1] throughout Europe. In addition, Steyerl holds a PhD in Philosophy, is a professor for media art at the University of Arts Berlin and has taught film and theory at (amongst other institutions) Goldsmiths College and Bard College, Center for Curatorial Studies.

Study Photography at Parsons the New School for Design in New York City. The New School is a university in New York City offering superb training in the art of the image with access to state of the art studios, lectures from visiting professionals, and interdisciplinary collaboration and exchange. |

Hosted by the School of Art, Media and Technology. Learn more |

Fri, 07 Mar 2014 04:19:21 -0800
<![CDATA[Einstein’s Camera  — Matter — Medium]]>

ADAM MAGYAR IS A computer geek, a college dropout, a self-taught photographer, a high-tech Rube Goldberg, a world traveler, and a conceptual artist of growing global acclaim.

Tue, 04 Mar 2014 14:33:45 -0800