Monthly Archives: June 2014

Shan Mountains

Landed back after a few short days. New ground…. very new and unfamiliar. But a welcome start and some small steps taken… we’ll see where I go with it (if anywhere).

from dust days

I’ll be away from email, phone and the like for a few days. Going for a walk, a rubberneck and I might even snap a picture or two in the process of it all. Be a good opportunity to stretch my legs and lungs and make those tentative steps into something new.

If you’re feeling desperate you can try my Myanmar cell# and see if it goes through; I’m unsure about the coverage and reliability where I’ll be… otherwise we’ll talk on the flipside.


Don’t forget People of the River is opening tonight at Witness Gallery in Yangon!

No doubt it’ll be a raging party with stories, gossip, tales and outright fiction mixed with laughter, booze and smokey corners.

Sad to miss it… but will be at the gallery ASAP to see the show.



“But now that I’ve escorted two e-partners to the edge of the grave, I’m wary of this brave new world of digital publishers and readers.”

Writer Tony Horwitz has written an interesting piece in the NYT about an online publishing deal that went pear shaped as two players in the digital sphere either went belly up or ‘restructured’ and left him holding the can for a while… a lucky outcome but one that has left him bruised.

This is not a tale of whinging-dude-left-behind… he made the leap and got burned all the same…

It’s a good read… not a prompt for anyone to turn their back on the digi opportunities…

Read it here

(c) Wesley Stacey

the road.

Photographs. Exhibition.

The Monash Gallery of Art.

A killer panel discussion on the 23rd of August…

Sweeeeet… don’t hesitate if you’re within striking distance or feel like a drive…

Details here

(c) Terry Richardson

This is the stink that continues to waft in… and really each ‘controversy’ adds little to the conversation and issue at hand. That is not to diminish the seriousness of the claims – for they are frightening in their number and details… but rather to point to the stagnant, stalled position the truck seems to be jammed in…

And really there doesn’t seem to be a resolution in sight… a whole heap of back-and-forth…

Richardson has been accused of some pretty serious and super-questionable conduct by a number of women over a number of years…

He has also been praised and supported and commissioned by a large number of incredibly influential editors, brands and celebrities…

Richardson has publicly denied the claims against him (and that must be acknowledged)…

And still we’re at a point where (with ongoing questions) there’s really no further meat in the sandwich…

The NY Magazine just recently put him on the cover and asked the binary question “Artist or Predator” (hmmmmmm… why “or”?)… and there are questions regarding the loose qualifying info regarding certain interviewed parties within it (the young lady above being one of them…)… but I disagree with many commentators who are labelling it a puff piece because it didn’t go for the jugular… that’s unfair and off at the edge of preparing the bonfire… there has been no test of much of this yet (other than some quiet settlements for past claims being made). The question remains if there ever will be…(?)…

So we ain’t rehashing it all here at KP… we’re not exhaustively and breathlessly listing the claims and counter claims… an quick www search will spew up enough reading to keep you going for many many hours… we’re just making a nod to claim & counter-claim, consent, power, revisionism, silence, $$$, influence, coercion… and feeling a little lost & bemused because this truly involves hundreds of people (at the very least) who have been involved and even present during the creation of this large body of work over decades… so ‘complicit’ could be a tough word to say, spell or swallow…

Stay tuned for more of the same… though who knows; maybe the truck just might drag itself out of the swamp and roll down the highway (in which direction we don’t quite know yet)…


Just sending my best to all the members of the squad for what will no doubt be a big game tonight…

10:30pm kick-off on Yangon time… that’s super sweet timing!!!!! Almost civilised…

The Photocaptionist

The Photocaptionist is tuned up ready for your impending visit!

There really aren’t a lot of excuses to hesitate, pause or even shuffle slowly when it’s but a mere click away…


The Photocaptionist is a platform that promotes the practice of concubinage between photography and literature, images and words. Authors of the past, contemporary and emerging writers, critics and photographers will ‘meet’ on for a photo-literary feast.

The project is loosely inspired by Bertold Brecht’s 1955 Kriegsfibel [War Primer], a unique work of art that introduced a new literary genre, the fotogramm (photo-epigram), where he combined poetry and news photography to unmask the true nature of war in a capitalist society. It is also informed by Walter Benjamin’s 1934 essay ‘The Author as Producer’, where he stressed the importance of the caption to rescue the picture from ‘the ravages of modishness and confer upon it a revolutionary use value’.

The name derives from a dream I had a couple of years back of a grumpy bloke whose job title was precisely Photocaptionist, and whose task was to find or produce creative texts to accompany the photographs he was sent by various institutions, artists and random individuals. I forgot about him for a while. One day I came across an empty 1940s photo album in the streets of Derby, UK, with a very peculiar typestyle on the cover. Out of curiosity I commissioned typographer and artist Rob Draper to replicate the typestyle and form the word ‘Photocaptionist’. The imaginary bloke was back, grumpier than ever, working non-stop as a matchmaker between photography and literature, texts and images.



25 Years ago Public Enemy laid this on the Do The Right Thing soundtrack.. and a year later ran it on Fear of a Black Planet… brilliant.

link to article

Mirelle Thijsen:

But tell me, why are you, being yourself a private collector of amateur photography and photo albums, so much interested in the photographic memories of other people?

 Erik Kessels:

There are a number of reasons: one thing I find interesting is the typology you discover in this genre. In case you collect all albums of a specific family, the typology is the following: two people meet each other in the first album, in which the man photographs his girlfriend up close. They are totally in love with each other. The second album is a wedding album. The third is made at the time the first child is born. The fourth, fifth, sixth and seventh album is a great mix of everything. What you see is chaos: the birth of a second and third child, vacations, children’s parties. That sort of thing… The last album will be created when the children have left home. And both parents go on a holiday with each other again. In a way, it is a kind of remake of the first album.

Also the rituals and customs that people have, I find interesting. As well as the boring routine in such an album: pages with pictures of mountains that are totally non-descript. Which just indicate: look there is a mountain! I’m interested in errors, for they are amateur photographers of course. These people are just enthusiasts.


The long discussion about the work, books and influence of Christian Boltanski can be found here

believer mag

Believer and Mike Slack put a great back and forth down for all to read. It examines the reading and ingestion of the photograph, book, sequence and effort.

“We have this lemon tree in our yard in LA, and in the springtime I watch the bees maneuvering from flower to flower, completely in their zone, burrowing in for the nectar, seemingly unaware of anything else. Making pictures can be like that—a biological impulse, a state of heightened attention, with the camera as a proboscis/prosthesis, extracting all these pictures and letting them cross-pollinate over time. I don’t really intellectualize this until later. Not that it shouldn’t be intellectualized, but much of the content of the pictures is chosen and composed almost unconsciously, without intention, and later communicated to a viewer wordlessly. It’s more about the sensation of having thoughts than the specific ideas contained in or attached to the pictures. The structure of a book provides a few clues or suggestions, and a viewer (consciously or not) decodes a syntax, a potential encoded message in, or between, the photographs. Is this like language? A pamphlet about Marcus Schaden’s ambitious new PhotoBookMuseum project describes photobook as “a type of visual Esperanto.” I don’t know if that’s exactly right, but there’s something to it.  Reading photographs may be like reading language, but only up to a point. I would say that cameras, as ubiquitous as they are now, still feel like a futuristic technology, but the impulse to use them is very primitive and ancient—people have been depicting their surroundings for a very long time. Didn’t most alphabets evolve out of simple pictures drawn from everyday life? “

Check it here


(c) William Eggleston

‘What have you been photographing here today, Eggleston?’

‘Well, I’ve been photographing democratically,’ I replied.

‘But what have you been taking pictures of?’

‘I’ve been outdoors, nowhere, in nothing.’

‘What do you mean?’

‘Well, just woods and dirt, a little asphalt here and there.’


The afterward to The Democratic Forest is a short, simple text that brings a smile… the whole thing is on the trust site here


the PhotoBook Melbourne

Looks like there’s gonna be a party in Melbourne next year.

Boookies, booze and much chit chat me thinks.

Romano & Boetker-Smith have teamed up and are driving the thing along.

The website is still under construction – they’re on Facesmash and Twutter for those who use ’em – you can start at the www site and roll out from there.