Photography has long served as a medium of choice not only for the curious practitioner, but also for his or her audience, whose curiosity may be either aroused or appeased by an image.
Oppenheim's work resides in interstitial spaces: between two images separated by time and place; between materialist and conceptual approaches to the medium; between intellect and emotion.
Lisa Oppenheim teases apart the individual steps of picture-making, wringing from the medium’s technical apparatus a surprisingly broad range of meanings.
I hope the ambiguity will cause viewers to be more aware of what they are projecting onto the image. The sculptural works take this one step further by involving you physically with the work—you literally step into them.
The Winter Stories photographer discusses a metallic model zeppelin he built, and how it found its way onto the ceiling of Aperture’s editorial offices.
Through his customary quick-witted ramblings, Hunt explores his lifelong predilection for images in which the subject’s eye is somehow obscured, a manifestation of his psyche, he believes.