| RECENT POSTS DATE 3/1/2020 DATE 2/19/2020 DATE 2/18/2020 DATE 2/17/2020 DATE 2/17/2020 DATE 2/16/2020 DATE 2/15/2020 DATE 2/15/2020 DATE 2/15/2020 DATE 2/14/2020 DATE 2/13/2020 DATE 2/12/2020 DATE 2/12/2020 DATE 2/11/2020 DATE 2/10/2020 DATE 2/9/2020 DATE 2/9/2020 DATE 2/8/2020 DATE 2/8/2020 DATE 2/8/2020 DATE 2/8/2020 DATE 2/8/2020 DATE 2/6/2020 DATE 2/6/2020 DATE 2/1/2020 DATE 2/1/2020 DATE 2/1/2020 DATE 2/1/2020 DATE 2/1/2020 DATE 1/31/2020 DATE 1/30/2020 DATE 1/29/2020 DATE 1/28/2020 DATE 1/27/2020 DATE 1/25/2020 DATE 1/25/2020 DATE 1/25/2020 DATE 1/23/2020 DATE 1/21/2020 DATE 1/21/2020 DATE 1/20/2020 DATE 1/19/2020 DATE 1/18/2020 DATE 1/17/2020 DATE 1/16/2020 DATE 1/15/2020 DATE 1/15/2020 DATE 1/15/2020 DATE 1/14/2020 DATE 1/11/2020 DATE 1/11/2020
| | |  CORY REYNOLDS | DATE 8/9/2017Featured image is reproduced from Anne Collier: Women with Cameras (Anonymous)—new from Karma and Studio Voltaire. Collier’s images “bristle with a kind of post-Freudian electricity;” Hilton Als writes, “there’s a pile up of ‘meaning’ that gets shown and eradicated at the same time in her pictures with their complicated underpinnings including the idea of ‘media’, and women in the age of mechanical reproduction: Are her female subjects ‘real’ or have they been rendered ‘unreal’ by the camera, that which edits so much of the real world out to give us all those disquieting image of women with dewy skin, flying hair?” KARMA, NEW YORK/STUDIO VOLTAIRE
Pbk, 10 x 10 in. / 168 pgs / 80 color.
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