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'An Impossible Weld:' George Weld in Raymond Meek's 'ciprian honey cathedral'
'An Impossible Weld:' George Weld in Raymond Meek's 'ciprian honey cathedral'
But if I keep the details of this house
to myself, leave it as a bare
sketch of a house, perhaps even make it an impossible house
The State of British Art: Victor Burgin at the ICA
The State of British Art: Victor Burgin at the ICA
What should be of fundamental interest to us, therefore, in regard to representations of people, is the way these representations help to determine subjectivity itself. Representation is a fact of daily experience which concerns us all intimately. We may tend to think that we were each born into the world as a little ‘self’, as well-formed psychologically as physiologically. Psychoanalysis, however, has built up a different picture: we become what we are through our encounter, while growing up, with the myriad representations of what we may become — the various positions that society allocates to us. There is no essential self which precedes the social construction of the self through the agency of representation. 
The Pacific to San Bernardino: Nigel Raab on his 72.5 mile walk across Los Angeles
The Pacific to San Bernardino: Nigel Raab on his 72.5 mile walk across Los Angeles

On the surface streets, the monotony of the highway has no home. I walked from predominantly white to African American to Hispanic neighborhoods where the Spanish language was the local currency. West of the Los Angeles River, these tightly packed neighborhoods were a mix of urban and suburban. I passed just north of the intersection at Normandie and Florence, the site of riots in 1992; two decades later, the external wounds were invisible in the neighborhood.
Intense Artificiality, Artificial Intensity: A conversation between David Chipperfield, Thomas Demand and Hal Foster
Intense Artificiality, Artificial Intensity: A conversation between David Chipperfield, Thomas Demand and Hal Foster

I think that’s partly why architecture is becoming interesting. Because it seems to be a field where form is being taken seriously. It might also be a little bit of an escape route, I admit. It’s more that architecture provides a form of making a show than it does a form for making an artwork.
Jörg Colberg on neoliberal realism in photography
Jörg Colberg on neoliberal realism in photography
For the most part, the photographs are staged, often very elaborately (there are occasional candid photographs). This is especially true for the photographs that regularly make it on to the covers of Vanity Fair or Vogue. They are in colour, somewhat desaturated, typically each with a very specific overall tone. They resemble what we have come to expect from Hollywood movies or TV productions, which often use an overall blueish or greenish atmosphere. As a consequence of these colour choices, skin tones are, for the most part, very far from what real skin looks like. The photograph’s heavy artifice is apparent.
Alec Soth and C. Fausto Cabrera on finding creativity in isolation
Alec Soth and C. Fausto Cabrera on finding creativity in isolation

For years, I have relied on photography for reference material, given my incarceration, and have developed a great admiration for the genre. By sheer impulse, I am reaching out to local artists I admire in the hope to ignite a professional dialogue. I have no real expectation but to connect with other artists. Incarceration comes with a low glass ceiling. By no way am I absolved of my past – but I seek to pay something forward through my art and writing…