Gursky likes to print his images on very large scale paper. Think Monet’s water lily series at the Orangerie, Paris. So as you approach a work it fills your horizontal field of vision. As well as enveloping you, the technique also has the effect of encouraging you to forget about edges of the picture, to disregard what lies beyond, and to overlook the very deliberate cropping that Gursky undertakes.
Modernism has a habit of returning, of seeming pertinent as a bearer of explanations, long after its paradigms have been... View Article
Review of ‘The Human Document: The Photography of Persuasion from 1930s America to Present Day’ at Mead Gallery, Coventry
There are few social-documentary photographs more well known, nor more heavily plundered for significance, than those of rural America from... View Article