Thursday, 22 June 2017

Feininger's initial response to Moholy-Nagy's Painting Photography Film

‘this essay weights down on my heart! … My self confidence is turning against being merely “tolerated” at an institute which considers panel painting as over and done with’.

- Lyonel Feininger

Feininger, Sunset (1930)

Feininger, Bauhaus [Dessau] (1929)

Monday, 12 June 2017

Lyonel Feininger 

Thursday, 8 June 2017

Two poems for the first time in a while


I check the news
every morning before I shower
in case
they have warned about
contaminated water.
Should the world end,
and they announce it in advance,
I would pray
for clean water, throughout:
back to the basics.
If I dream when I sleep,
it is always, invariably, about
the glacial river at Cathedral Mountain.
I allow my apocalyptic fears to
wash over me,
even though I know better.


To sit on the lodge porch again
overlooking the river
so fresh you could bring your glass to it
and rehydrate your body
in its entirety
with a single sip:
get me out of London.

Carbon monoxide fills me up instead
and I grow aware of molecules
in the air I wish to call my own,
although it clearly
belongs to something much larger.
I imagine the rain tastes of poison,
though I cannot be certain:
I acknowledge my tendency
for amplification
for the production of false atmospherics
emotional in my mind.

Thursday, 1 June 2017

AAH - Framing space through architecture and film

Excited to announce that Hannah Paveck and I will be convening a session at the AAH Annual Conference 2018 to be held at the Courtauld Institute of Art and King's College London called 'Framing space through architecture and film'. CFP to come.

Paul Strand on photography in America

“Notwithstanding the fact that the whole development of photography has been given to the world through Camera Work in a form uniquely beautiful as well as perfect in conception and presentation, there is no real consciousness, even among photographers, of what has actually happened: the America has really been expressed in terms of America without the outside influence of Paris art-schools or their dilute offspring here… moreover, this renaissance found its highest aesthetic achievement in America, where a small group of men and women consciously, but without any background of photographic or graphic formulae much less any cut and dried ideas of what is Art and what isn’t: this innocence was their real strength”.

Paul Strand, “Photography”, (1917).

Strand, Porch Shadows, 1916.