This week, it was my great privilege to visit the John Muir National Historic Site in Martinez, California. The beautiful Muir family home was restored from dereliction by the National Park Service, and pays tribute to the father of modern environmental conservation.
“When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence.”
— Ansel Adams
“At some point in life the world’s beauty becomes enough. You don’t need to photograph, paint or even remember it. It is enough. No record of it needs to be kept and you don’t need someone to share it with or tell it to.”
— Toni Morrison, Tar Baby
“A great photograph is a full expression of what one feels about what is being photographed in the deepest sense, and is, thereby, a true expression of what one feels about life in its entirety.”
— Ansel Adams
“What comes clear in interviews with more than two dozen former friends and colleagues from the various Factory spaces is that, from the start of a career that ended with his premature death at 58, the rabidly ambitious and deeply needy Warhol marshaled all that was paradoxical in his nature and put it to the service of the sustained piece of performance art that was his public self.”
“I have to deal with the fact that people walk through every exhibition, not just mine, with their phone in front of their face. What I think is going on is a sort of physical attention deficit, a new type of numbness. I think it’s a fair argument that there’s a sort of physical disconnect. But on the other side I see the increased democratisation of accessibility to culture and the demystifying of elitism in museums and of who owns the narrative. I would like to be positive, even though my art has lot to do with the phenomenology of tangibility. Now it’s up to me to find a way to react to that and come up with an answer to what is a revolution, whether I like it or not. The question is not whether I would consider making art where the phone is part of the experience, because the phone is a part of the work already, now I just need to find a way to deal with it.”
“One of the most persistent myths in America today is that urban areas are innovative and rural areas are not. While it is overwhelmingly clear that innovation and creativity tend to cluster in a small number of cities and metropolitan areas, it’s a big mistake to think that they somehow skip over rural America.”
I am both delighted and honoured to announce that RhysTranter.com has been selected by the British Library’s UK Web Archive “as an important part of Wales’ documentary heritage”. The site has become part of the repository’s permanent collection, where it will “remain available to researchers in the future”. The UK Web Archive is a partnership between the British Library, the National Library of Wales, and the National Library of Scotland.
Find out more about the UK Web Archive.
William Faulkner was a terrible postman • Friends and fellow authors pay tribute to Newark native Philip Roth • 5 new biographies about Mary Shelley • Friedrich Nietzsche’s descent into madness • 48 Years In the Making, Orson Welles’s Last Film Is Finally Released • 58 Jazz Giants in Art Kane‘s One Immortal Image • Patti Smith on Little Women • How to write the perfect sentence • Storyboard for Tarkovsky‘s Andrei Rublev • Haruki Murakami Introduces The Penguin Book of Japanese Short Stories • Twenty Questions with Esi Edugyan • The 50 Biggest Books of Autumn 2018
“The Institute of Cultural Inquiry, an organization devoted to project-based study of visual technologies, issued a call for submissions for critical essays and artist projects related to the work of W.G. Sebald. The overwhelming response to this call precipitated the development of this ambitious anthology [Searching for Sebald: Photography After W.G. Sebald, ed. Lise Patt].
With 632 densely populated pages, this volume presented challenges of scale, organization, and cohesion. Within four thematic sections, 38 contributors present illustrated arguments and diverse visual explorations. These are separated with editorial ‘intermezzos.’ A framing introduction with extensive illustrated footnotes establishes the complexity of this multifaceted dialogue.”