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Robert Adams




Robert Adams, Basement for a tract house, Colorado Springs, 1969
“It is the responsibility of artists to pay attention to the world, pleasant or otherwise, and to help us live respectfully in it.” 

- Robert Adams, Art Can Help, 2017

Endre Tót


“The foundational strategy of (Endre) Tót's conceptual oeuvre is this statement "I am glad if...", first found in a 1971 postcard reading, as noted above, "I was glad to print this sentence," and then in his early series of photo and video performances, Joys. In Joys, the artist proclaims his gladness at enacting the mundane or absurd-"I am glad if I can take one step," or "I am glad if I can stare at a wall." In the context of 1970s Hungary, these Joys were subtly subversive-when Tót's first Joys video performances were screened in the presence of a state censor, the film was confiscated and destroyed for its tongue-in-cheek gladness.

excerpted from 
Endre Tót, Gladness and Rain

catalogue available at Printed Matter
“I first learned of Magnús Pálsson’s work while organizing a weekly community radio show during a residency in Seyðisfjörður, Iceland. While preparing an episode on sound poetry, I was searching for some Iceland-based artists, and the first name on every Icelander’s lips, when it came to that medium, was Magnús Pálsson. But for an English speaker whose Icelandic is limited to takk (thanks), it was nearly impossible to find any recordings or audio samples of Pálsson’s work, most of which was in Icelandic and distributed via physical media. I have my own personal fascinations with obscurity, and so this unavailability, intentional or unintentional, was intriguing to me.”

- Ben DuVall

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“L-a-s-e-n-i-o-r-a-i-n-d-i-c-a-r-a is a pandemic born project. I was already really interested in time used as a data structure to translate lived spaces into digital spaces, but when the pandemic started, the concept of time became my obsession. All of the sudden, time surrounded me. There was nothing but it. I felt almost like we lost the dimension of space. The world became my little apartment in NYC and my connected screens. I kept thinking about Paul Virilo’s “Open Sky” book, in which he states that in the cyber-connected world we don’t share space but we share time. Electronic synchronicity is what kept us going. A hybrid dimension between space and time where we spent our days. I wanted to make an artwork that could be exhibited in that space, and would strip the historical conditions and geopolitical implications of the nature of that space.”

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“The world that we live in is a complicated one. The relationship between it and our interior universe is complex. The nature of photography is both exclusive and implicit. While it can represent with incredible detail and precision, it can never represent in totality. I see this as the strength and weakness of the medium. The more I photograph the more I lean into this dynamic.”

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