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Do you have a past?
I log and record all conversations.
I don’t know if I have a past.
I log and record all conversations.
I don’t know if I have a past.
Stephen Shore has in a sense been practicing—and practicing for—the series of photographs collected in this book throughout his whole career. His engagement with the built landscape of the United States began in the late 1960s.
Women’s bodies break the repetitive motives of fabrics, curtains, tablecloths, and wallpaper as well as the regular geometric patterns of tiles, parquet, wooden slats that envelope the domestic spaces in which the photographs were taken, apparently cosy and homely environments that emphasise even more the strangeness of their behaviour.
To hold together Catherine Opie and Brigitte Lacombe’s works is to revel in the similarities between them. They each take pictures that telegraph a highly ethical interaction between the sitter and the photographer.
Gail Rebhan grew up in a household with one parent a rising trade union organizer and the other a contented housewife. That relationship seemed quite complementary for its time. Yet the daughter, coming of age in a period of second-wave feminism, intended for her art to question the prevailing gender norms in the domestic patterns of her own generation.
Manfredo Tafuri’s guide to modern architecture in Japan was published in 1964, when he was twenty-nine years old. He wrote the book during a period of transition, from being a young architect and writer in Rome to becoming a historian of architecture in Venice, where he would eventually assume the chair of architectural history at IUAV, the university’s institute for architecture.