When I walk along a shingle beach, my focus is seldom on the view out to sea, but on the stones beneath my feet. I always pick one up to take away with me, and the one that I choose always has a special quality that sets it apart from the rest: the pattern on […]
About Eugenie Shinkle
Shinkle is Reader in Photography at University of Westminster. She writes for a range of academic and wider contexts and has contributed to platforms such as Aperture, American Suburb X, Foam and Source. Her visual work deals broadly with the relations (political, aesthetic, and material) between vision machines and space.
Some years ago, at an estate sale in the town of Hastings-on-Hudson – a small town about 20 miles north of New York City – filmmaker Peter Ward purchased the archive of an amateur photographer called Bernard Taylor. For forty dollars, Ward took home six boxes of newspaper and magazine clippings, handwritten and typed notes, […]
In the mountains on the western fringes of Tokyo prefecture are the relics of a long-vanished civilisation, its ruins scattered and overgrown among stands of pine. The inhabitants once carved terraces into the sides of these hills, blasted roads through living rock, filled the darkness with light and the sound of machines. Not much remains […]
When Tyrone Williams’ recent book, Aesthetix, was published by Bronze Age Editions in late 2020, the Northampton-based photographer was already known for his singular visual style. Developed over the course of several years and two collaborative books (Ordinary Fragments 1 and 2), with French photographer Jean-Christophe Recchia, Williams’ eye singles out the clean-lined graphic forms […]
The idea that built structures are vehicles for expressing ideology is widely accepted in architectural circles – think of the cool rationality of Le Corbusier’s apartment blocks, or the hubris of Albert Speer’s New Reich Chancellery. The political dimensions of architecture, on the other hand, emerge more spontaneously, in the gap between architect’s plan and […]
‘Nature, always simple, employs but four materials in the composition of her scenes, ground, wood, water, and rocks.’ So remarked English politician and writer Thomas Whately, in his 1770 book Observations on Modern Gardening. It’s a simple statement, but it sets out a complex problem. For the eighteenth-century observer, nature was something of a contradiction, […]
The word ‘affect’ is derived from the Latin affectus, which is roughly translatable as passion or emotion. Often, the two are used interchangeably. But one of the most exciting (and profoundly difficult) works on affect – Brian Massumi’s Parables for the Virtual – insists on its difference from emotion. To speak of emotions, Massumi claims, […]
Thought Pieces – the catalogue to a 2020 exhibition held at the San Francisco Museum of Modern Art – is a retrospective look at the work produced by Thomas and two of his young collaborators, Donna-Lee Phillips, and Hal Fischer.