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Domain > matthewconnors.com
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More information on this domain is in
AlienVault OTX
Is this malicious?
Yes
No
DNS Resolutions
Date
IP Address
2015-04-13
69.89.31.187
(
ClassC
)
2024-10-27
3.215.100.79
(
ClassC
)
Port 80
HTTP/1.1 301 Moved PermanentlyDate: Sun, 27 Oct 2024 20:02:17 GMTContent-Type: text/htmlContent-Length: 166Connection: keep-aliveLocation: https://matthewconnors.com/Server: Cargo html>head>title>301 Moved Permanently/title>/head>body>center>h1>301 Moved Permanently/h1>/center>hr>center>openresty/center>/body>/html>
Port 443
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Text,title_no_html:Axe Text,tags:,display:false,pin:true,pin_options:{position:top,overlay:true,accommodate:false,fixed:true,exclude_mobile:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:THE AXE WILL SURVIVE THE MASTER\n\nThe Axe Will Survive the Master offers contemplative evidence of the destruction wrought by colonial logic. In the weeks...,content:br>\nbr>br>b>THE AXE WILL SURVIVE THE MASTER\/b>br>\ni>The Axe Will Survive the Master \/i>offers contemplative evidence of the destruction wrought by colonial logic. In the weeks following Russia\u2019s invasion of Ukraine in 2022, Connors traversed the country, following closely in the footsteps of retreating Russian forces. He encountered a terrain - and lives within it - that had been ruptured by acts of systematic violence. Navigating an atmosphere of fear and resilience, he registered the nuances of wartime experience, and cataloged sites impacted by the invasion. The resulting survey of cracked infrastructure, destroyed homes, and surviving residents posits this damaged landscape as a battleground of political ideologies, and raises questions about the role photography plays in a conflict that is not only a war of territorial expansion and genocide, but a war on reality itself. br>\nbr>,content_no_html:\nTHE AXE WILL SURVIVE THE MASTER\nThe Axe Will Survive the Master offers contemplative evidence of the destruction wrought by colonial logic. In the weeks following Russia\u2019s invasion of Ukraine in 2022, Connors traversed the country, following closely in the footsteps of retreating Russian forces. He encountered a terrain - and lives within it - that had been ruptured by acts of systematic violence. Navigating an atmosphere of fear and resilience, he registered the nuances of wartime experience, and cataloged sites impacted by the invasion. The resulting survey of cracked infrastructure, destroyed homes, and surviving residents posits this damaged landscape as a battleground of political ideologies, and raises questions about the role photography plays in a conflict that is not only a war of territorial expansion and genocide, but a war on reality itself. \n,content_partial_html:br>\nbr>br>b>THE AXE WILL SURVIVE THE MASTER\/b>br>\ni>The Axe Will Survive the Master \/i>offers contemplative evidence of the destruction wrought by colonial logic. In the weeks following Russia\u2019s invasion of Ukraine in 2022, Connors traversed the country, following closely in the footsteps of retreating Russian forces. He encountered a terrain - and lives within it - that had been ruptured by acts of systematic violence. Navigating an atmosphere of fear and resilience, he registered the nuances of wartime experience, and cataloged sites impacted by the invasion. The resulting survey of cracked infrastructure, destroyed homes, and surviving residents posits this damaged landscape as a battleground of political ideologies, and raises questions about the role photography plays in a conflict that is not only a war of territorial expansion and genocide, but a war on reality itself. br>\nbr>,thumb:188837595,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:188837595,project_id:33695175,image_ref:{image 1},name:Fire_In_Cairo_Cover.jpg,hash:1739a1663c77a480d56903c33605a978390babda0813af82177980e51dead79c,width:1680,height:1200,sort:0,exclude_from_backdrop:false,date_added:1692931989},stored:{ratio:71.428571428571,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:false,sort:13,index:0,set_id:33695171,page_options:{using_local_css:true,local_css:local-style\33695175\ .container_width {\n\twidth: 26% \/*!variable_defaults*\/;\n}\n\nlocal-style\33695175\ body {\n}\n\nlocal-style\33695175\ .backdrop {\n\twidth: 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293},name:22SP_07721.jpg,hash:bdfe7508ebe4c779ba1a5c34b9a3e7c564b6bb8c83acf813110b4207ee4c95a7,width:900,height:1200,sort:0,exclude_from_backdrop:false,date_added:1692995098},backdrop:null},{id:33706500,site_id:868680,project_url:Axe-Text-Mobile,direct_link:https:\/\/matthewconnors.com\/Axe-Text-Mobile,type:page,title:Axe Text Mobile,title_no_html:Axe Text Mobile,tags:,display:false,pin:true,pin_options:{position:top,overlay:false,accommodate:true,fixed:false,exclude_mobile:false,exclude_desktop:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:THE AXE WILL SURVIVE THE MASTER\n\nThe Axe Will Survive the Master offers contemplative evidence of the destruction wrought by colonial logic. In the weeks following...,content:b>THE AXE WILL SURVIVE THE MASTER\/b>br>\ni>The Axe Will Survive the Master \/i>offers contemplative evidence of the destruction wrought by colonial logic. In the weeks following Russia\u2019s invasion of Ukraine in 2022, Connors traversed the country, following closely in the footsteps of retreating Russian forces. He encountered a terrain - and lives within it - that had been ruptured by acts of systematic violence. Navigating an atmosphere of fear and resilience, he registered the nuances of wartime experience, and cataloged sites impacted by the invasion. The resulting survey of cracked infrastructure, destroyed homes, and surviving residents posits this damaged landscape as a battleground of political ideologies, and raises questions about the role photography plays in a conflict that is not only a war of territorial expansion and genocide, but a war on reality itself. br>\nbr>,content_no_html:THE AXE WILL SURVIVE THE MASTER\nThe Axe Will Survive the Master offers contemplative evidence of the destruction wrought by colonial logic. In the weeks following Russia\u2019s invasion of Ukraine in 2022, Connors traversed the country, following closely in the footsteps of retreating Russian forces. He encountered a terrain - and lives within it - that had been ruptured by acts of systematic violence. Navigating an atmosphere of fear and resilience, he registered the nuances of wartime experience, and cataloged sites impacted by the invasion. The resulting survey of cracked infrastructure, destroyed homes, and surviving residents posits this damaged landscape as a battleground of political ideologies, and raises questions about the role photography plays in a conflict that is not only a war of territorial expansion and genocide, but a war on reality itself. \n,content_partial_html:b>THE AXE WILL SURVIVE THE MASTER\/b>br>\ni>The Axe Will Survive the Master \/i>offers contemplative evidence of the destruction wrought by colonial logic. In the weeks following Russia\u2019s invasion of Ukraine in 2022, Connors traversed the country, following closely in the footsteps of retreating Russian forces. He encountered a terrain - and lives within it - that had been ruptured by acts of systematic violence. Navigating an atmosphere of fear and resilience, he registered the nuances of wartime experience, and cataloged sites impacted by the invasion. The resulting survey of cracked infrastructure, destroyed homes, and surviving residents posits this damaged landscape as a battleground of political ideologies, and raises questions about the role photography plays in a conflict that is not only a war of territorial expansion and genocide, but a war on reality itself. br>\nbr>,thumb:188911335,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:188911335,project_id:33706500,image_ref:{image 1},name:Fire_In_Cairo_Cover.jpg,hash:1739a1663c77a480d56903c33605a978390babda0813af82177980e51dead79c,width:1680,height:1200,sort:0,exclude_from_backdrop:false,date_added:1692995094},stored:{ratio:71.428571428571,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:false,sort:15,index:0,set_id:33695171,page_options:{using_local_css:true,local_css:local-style\33706500\ .container_width {\n\twidth: 26% \/*!variable_defaults*\/;\n}\n\nlocal-style\33706500\ body {\n\tbackground-color: initial 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270},name:13SP_02662_G.jpeg,hash:a578c66c4e9d2e29a51034f5c0293ef58bfb082904e1aec137aa67638c5e15db,width:900,height:1200,sort:0,exclude_from_backdrop:false,date_added:1605390654},backdrop:null},{id:16026238,site_id:868680,project_url:UD-Text,direct_link:https:\/\/matthewconnors.com\/UD-Text,type:page,title:UD Text,title_no_html:UD Text,tags:,display:false,pin:true,pin_options:{position:top,overlay:true,accommodate:false,fixed:true,exclude_mobile:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:UNANIMOUS DESIRES\n\nUnanimous\nDesires is a photographic speculation about the\nconditions of existence in North Korea.\u00a0 Despite\nheavy restrictions on travel,...,content:br>br>br>\nb>UNANIMOUS DESIRES\/b>br>\ni>Unanimous\nDesires\/i> is a photographic speculation about the\nconditions of existence in North Korea. Despite\nheavy restrictions on travel, Connors visited the\nreclusive nation on five government-organized tours between\n2013 and 2016. The choreographed displays of life he encountered offered\nglimpses into a society struggling with its internal dynamics, and relationship\nto the outside world. His images respond to the ways in which tightly controlled\nflows of information cultivate an atmosphere of slipping reality in a country\nwhere Cold War legacies continue to reverberate forcefully.br>\n\n\n\n\n\n\nbr>hr>br>\na href\Books-FireInCairo\ rel\history\>\/a>a href\https:\/\/www.moma.org\/calendar\/exhibitions\/3886\ target\_blank\>Being: New Photography 2018 at MoMA\/a>br>br>hr>\nb>\/b>br>a href\https:\/\/www.wsj.com\/articles\/momas-human-focus-1521064112\ target\_blank\>Exhibition Review by Richard Woodward\/a>br>a href\https:\/\/www.nytimes.com\/2018\/03\/09\/arts\/design\/museum-of-modern-art-being-new-photography.html\ target\_blank\>Exhibition Review by Arthur Lubow\/a>br>br>\nbr>br>\nbr>\nbr>,content_no_html:\nUNANIMOUS DESIRES\nUnanimous\nDesires is a photographic speculation about the\nconditions of existence in North Korea. Despite\nheavy restrictions on travel, Connors visited the\nreclusive nation on five government-organized tours between\n2013 and 2016. The choreographed displays of life he encountered offered\nglimpses into a society struggling with its internal dynamics, and relationship\nto the outside world. His images respond to the ways in which tightly controlled\nflows of information cultivate an atmosphere of slipping reality in a country\nwhere Cold War legacies continue to reverberate forcefully.\n\n\n\n\n\n\n\nBeing: New Photography 2018 at MoMA\nExhibition Review by Richard WoodwardExhibition Review by Arthur Lubow\n\n\n,content_partial_html:br>br>br>\nb>UNANIMOUS DESIRES\/b>br>\ni>Unanimous\nDesires\/i> is a photographic speculation about the\nconditions of existence in North Korea. Despite\nheavy restrictions on travel, Connors visited the\nreclusive nation on five government-organized tours between\n2013 and 2016. The choreographed displays of life he encountered offered\nglimpses into a society struggling with its internal dynamics, and relationship\nto the outside world. His images respond to the ways in which tightly controlled\nflows of information cultivate an atmosphere of slipping reality in a country\nwhere Cold War legacies continue to reverberate forcefully.br>\n\n\n\n\n\n\nbr>hr>br>\na href\Books-FireInCairo\ rel\history\>\/a>a href\https:\/\/www.moma.org\/calendar\/exhibitions\/3886\ target\_blank\>Being: New Photography 2018 at MoMA\/a>br>br>hr>\nb>\/b>br>a href\https:\/\/www.wsj.com\/articles\/momas-human-focus-1521064112\ target\_blank\>Exhibition Review by Richard Woodward\/a>br>a href\https:\/\/www.nytimes.com\/2018\/03\/09\/arts\/design\/museum-of-modern-art-being-new-photography.html\ target\_blank\>Exhibition Review by Arthur Lubow\/a>br>br>\nbr>br>\nbr>\nbr>,thumb:87114891,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:87114891,project_id:16026238,image_ref:{image 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Despite\nheavy restrictions on travel, Connors visited the\nreclusive nation on five government-organized tours between\n2013 and 2016. The choreographed displays of life he encountered offered\nglimpses into a society struggling with its internal dynamics, and relationship\nto the outside world. His images respond to the ways in which tightly controlled\nflows of information cultivate an atmosphere of slipping reality in a country\nwhere Cold War legacies continue to reverberate forcefully.br>\n\n\n\n\n\n\nbr>hr>br>\na href\Books-FireInCairo\ rel\history\>\/a>a href\https:\/\/www.moma.org\/calendar\/exhibitions\/3886\ target\_blank\>Being: New Photography 2018 at MoMA\/a>br>br>hr>\nb>\/b>br>a href\https:\/\/www.wsj.com\/articles\/momas-human-focus-1521064112\ target\_blank\>Exhibition Review by Richard Woodward\/a>br>a href\https:\/\/www.nytimes.com\/2018\/03\/09\/arts\/design\/museum-of-modern-art-being-new-photography.html\ target\_blank\>Exhibition Review by Arthur Lubow\/a>br>br>\nbr>br>\nbr>\nbr>,content_no_html:UNANIMOUS DESIRES\nUnanimous\nDesires is a photographic speculation about the\nconditions of existence in North Korea. Despite\nheavy restrictions on travel, Connors visited the\nreclusive nation on five government-organized tours between\n2013 and 2016. The choreographed displays of life he encountered offered\nglimpses into a society struggling with its internal dynamics, and relationship\nto the outside world. His images respond to the ways in which tightly controlled\nflows of information cultivate an atmosphere of slipping reality in a country\nwhere Cold War legacies continue to reverberate forcefully.\n\n\n\n\n\n\n\nBeing: New Photography 2018 at MoMA\nExhibition Review by Richard WoodwardExhibition Review by Arthur Lubow\n\n\n,content_partial_html:b>UNANIMOUS DESIRES\/b>br>\ni>Unanimous\nDesires\/i> is a photographic speculation about the\nconditions of existence in North Korea. Despite\nheavy restrictions on travel, Connors visited the\nreclusive nation on five government-organized tours between\n2013 and 2016. The choreographed displays of life he encountered offered\nglimpses into a society struggling with its internal dynamics, and relationship\nto the outside world. His images respond to the ways in which tightly controlled\nflows of information cultivate an atmosphere of slipping reality in a country\nwhere Cold War legacies continue to reverberate forcefully.br>\n\n\n\n\n\n\nbr>hr>br>\na href\Books-FireInCairo\ rel\history\>\/a>a href\https:\/\/www.moma.org\/calendar\/exhibitions\/3886\ target\_blank\>Being: New Photography 2018 at MoMA\/a>br>br>hr>\nb>\/b>br>a href\https:\/\/www.wsj.com\/articles\/momas-human-focus-1521064112\ target\_blank\>Exhibition Review by Richard Woodward\/a>br>a href\https:\/\/www.nytimes.com\/2018\/03\/09\/arts\/design\/museum-of-modern-art-being-new-photography.html\ target\_blank\>Exhibition Review by Arthur Lubow\/a>br>br>\nbr>br>\nbr>\nbr>,thumb:88070950,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:88070950,project_id:16177758,image_ref:{image 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Text,tags:,display:false,pin:true,pin_options:{position:top,overlay:true,accommodate:false,fixed:true,exclude_mobile:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:WAKE\n\nIn the months following the 2016 United States presidential election, Connors photographed the paroxysms of public dissent that arose in New York City and...,content:br>\nbr>br>b>WAKE\/b>br>\nIn the months following the 2016 United States presidential election, Connors photographed the paroxysms of public dissent that arose in New York City and Washington D.C. America entered a period when broad based disobedience reasserted itself as a historic force and upended the terms of public debate. The pictures he made reflect on the emergence of new protest vocabularies and the tensions between strategic nonviolent action and disruptive confrontation.br>\nbr>hr>br>\ni>a href\Books-Wake\ rel\history\>Wake\/a>\/i>br>small>Photographs by Matthew Connors\/small>br>small>Roman Nvmerals Press, New York, 2019\/small>br>small>Softcover, 24 pages, 9.25 x 13 in.\/small>br>small>Unbound\/small> br>br>hr>\nbr>a href\https:\/\/www.moma.org\/calendar\/exhibitions\/3886\ target\_blank\>Being: New Photography 2018 at MoMA\/a>br>br>hr>\nbr>a href\https:\/\/www.wsj.com\/articles\/momas-human-focus-1521064112\ target\_blank\>Exhibition Review by Richard Woodward\/a>br>a href\https:\/\/www.nytimes.com\/2018\/03\/09\/arts\/design\/museum-of-modern-art-being-new-photography.html\ target\_blank\>Exhibition Review by Arthur Lubow\n\/a>br>\na href\What-Does-a-Metaphor-Rest-Upon\ rel\history\>Essay by Andrianna Campbellbr>\/a>br>br>br>,content_no_html:\nWAKE\nIn the months following the 2016 United States presidential election, Connors photographed the paroxysms of public dissent that arose in New York City and Washington D.C. America entered a period when broad based disobedience reasserted itself as a historic force and upended the terms of public debate. The pictures he made reflect on the emergence of new protest vocabularies and the tensions between strategic nonviolent action and disruptive confrontation.\n\nWakePhotographs by Matthew ConnorsRoman Nvmerals Press, New York, 2019Softcover, 24 pages, 9.25 x 13 in.Unbound \nBeing: New Photography 2018 at MoMA\nExhibition Review by Richard WoodwardExhibition Review by Arthur Lubow\n\nEssay by Andrianna Campbell,content_partial_html:br>\nbr>br>b>WAKE\/b>br>\nIn the months following the 2016 United States presidential election, Connors photographed the paroxysms of public dissent that arose in New York City and Washington D.C. America entered a period when broad based disobedience reasserted itself as a historic force and upended the terms of public debate. The pictures he made reflect on the emergence of new protest vocabularies and the tensions between strategic nonviolent action and disruptive confrontation.br>\nbr>hr>br>\ni>a href\Books-Wake\ rel\history\>Wake\/a>\/i>br>Photographs by Matthew Connorsbr>Roman Nvmerals Press, New York, 2019br>Softcover, 24 pages, 9.25 x 13 in.br>Unbound br>br>hr>\nbr>a href\https:\/\/www.moma.org\/calendar\/exhibitions\/3886\ target\_blank\>Being: New Photography 2018 at MoMA\/a>br>br>hr>\nbr>a href\https:\/\/www.wsj.com\/articles\/momas-human-focus-1521064112\ target\_blank\>Exhibition Review by Richard Woodward\/a>br>a href\https:\/\/www.nytimes.com\/2018\/03\/09\/arts\/design\/museum-of-modern-art-being-new-photography.html\ target\_blank\>Exhibition Review by Arthur Lubow\n\/a>br>\na href\What-Does-a-Metaphor-Rest-Upon\ rel\history\>Essay by Andrianna Campbellbr>\/a>br>br>br>,thumb:87107802,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:87107802,project_id:16024951,image_ref:{image 1},name:Fire_In_Cairo_Cover.jpg,hash:1739a1663c77a480d56903c33605a978390babda0813af82177980e51dead79c,width:1680,height:1200,sort:0,exclude_from_backdrop:false,date_added:1604007931},stored:{ratio:71.428571428571,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:false,sort:23,index:0,set_id:16024946,page_options:{using_local_css:true,local_css:local-style\16024951\ .container_width {\n\twidth: 26% \/*!variable_defaults*\/;\n}\n\nlocal-style\16024951\ body {\n\tbackground-color: initial \/*!variable_defaults*\/;\n}\n\nlocal-style\16024951\ .backdrop {\n\twidth: 100% \/*!background_cover*\/;\n}\n\nlocal-style\16024951\ .page {\n}\n\nlocal-style\16024951\ .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\nlocal-style\16024951\ .content_padding {\n\tpadding-top: 1rem 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Mobile,tags:,display:false,pin:true,pin_options:{position:top,overlay:false,accommodate:true,fixed:false,exclude_mobile:false,exclude_desktop:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:WAKE\n\nIn the months following the 2016 United States presidential election, Connors photographed the paroxysms of public dissent that arose in New York City and...,content:b>WAKE\/b>br>\nIn the months following the 2016 United States presidential election, Connors photographed the paroxysms of public dissent that arose in New York City and Washington D.C. America entered a period when broad based disobedience reasserted itself as a historic force and upended the terms of public debate. The pictures he made reflect on the emergence of new protest vocabularies and the tensions between strategic nonviolent action and disruptive confrontation.br>\nbr>hr>br>\ni>a href\Books-Wake\ rel\history\>Wake\/a>\/i>br>small>Photographs by Matthew Connors\/small>br>small>Roman Nvmerals Press, New York, 2019\/small>br>small>Softcover, 24 pages, 9.25 x 13 in.\/small>br>small>Unbound\/small> br>br>hr>\nbr>a href\https:\/\/www.moma.org\/calendar\/exhibitions\/3886\ target\_blank\>Being: New Photography 2018 at MoMA\/a>br>br>hr>\nbr>a href\https:\/\/www.wsj.com\/articles\/momas-human-focus-1521064112\ target\_blank\>Exhibition Review by Richard Woodward\/a>br>a href\https:\/\/www.nytimes.com\/2018\/03\/09\/arts\/design\/museum-of-modern-art-being-new-photography.html\ target\_blank\>Exhibition Review by Arthur Lubow\n\/a>br>\na href\What-Does-a-Metaphor-Rest-Upon\ rel\history\>Essay by Andrianna Campbellbr>\/a>br>br>br>,content_no_html:WAKE\nIn the months following the 2016 United States presidential election, Connors photographed the paroxysms of public dissent that arose in New York City and Washington D.C. America entered a period when broad based disobedience reasserted itself as a historic force and upended the terms of public debate. The pictures he made reflect on the emergence of new protest vocabularies and the tensions between strategic nonviolent action and disruptive confrontation.\n\nWakePhotographs by Matthew ConnorsRoman Nvmerals Press, New York, 2019Softcover, 24 pages, 9.25 x 13 in.Unbound \nBeing: New Photography 2018 at MoMA\nExhibition Review by Richard WoodwardExhibition Review by Arthur Lubow\n\nEssay by Andrianna Campbell,content_partial_html:b>WAKE\/b>br>\nIn the months following the 2016 United States presidential election, Connors photographed the paroxysms of public dissent that arose in New York City and Washington D.C. America entered a period when broad based disobedience reasserted itself as a historic force and upended the terms of public debate. The pictures he made reflect on the emergence of new protest vocabularies and the tensions between strategic nonviolent action and disruptive confrontation.br>\nbr>hr>br>\ni>a href\Books-Wake\ rel\history\>Wake\/a>\/i>br>Photographs by Matthew Connorsbr>Roman Nvmerals Press, New York, 2019br>Softcover, 24 pages, 9.25 x 13 in.br>Unbound br>br>hr>\nbr>a href\https:\/\/www.moma.org\/calendar\/exhibitions\/3886\ target\_blank\>Being: New Photography 2018 at MoMA\/a>br>br>hr>\nbr>a href\https:\/\/www.wsj.com\/articles\/momas-human-focus-1521064112\ target\_blank\>Exhibition Review by Richard Woodward\/a>br>a href\https:\/\/www.nytimes.com\/2018\/03\/09\/arts\/design\/museum-of-modern-art-being-new-photography.html\ target\_blank\>Exhibition Review by Arthur Lubow\n\/a>br>\na href\What-Does-a-Metaphor-Rest-Upon\ rel\history\>Essay by Andrianna Campbellbr>\/a>br>br>br>,thumb:88070961,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:88070961,project_id:16177761,image_ref:{image 1},name:Fire_In_Cairo_Cover.jpg,hash:1739a1663c77a480d56903c33605a978390babda0813af82177980e51dead79c,width:1680,height:1200,sort:0,exclude_from_backdrop:false,date_added:1604801926},stored:{ratio:71.428571428571,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:false,sort:25,index:0,set_id:16024946,page_options:{using_local_css:true,local_css:local-style\16177761\ .container_width {\n\twidth: 26% \/*!variable_defaults*\/;\n}\n\nlocal-style\16177761\ body {\n\tbackground-color: initial \/*!variable_defaults*\/;\n}\n\nlocal-style\16177761\ .backdrop {\n\twidth: 100% \/*!background_cover*\/;\n}\n\nlocal-style\16177761\ .page {\n}\n\nlocal-style\16177761\ .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\nlocal-style\16177761\ .content_padding {\n\tpadding-top: 1rem 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261},name:17SM_00347.jpeg,hash:baebd8d2cd48508d2227d67bfbe3932eebf85dee2e2453484a58e45b14a0df18,width:900,height:1200,sort:0,exclude_from_backdrop:false,date_added:1604797013},{id:88069078,project_id:15688486,image_ref:{image 262},name:17SM_00281.jpeg,hash:09c27234aedcbe912149d3841fcc75021385d01a1473c34a638b6be699e580a0,width:900,height:1200,sort:0,exclude_from_backdrop:false,date_added:1604797104},backdrop:null},{id:15688508,site_id:868680,project_url:Poetics-Text,direct_link:https:\/\/matthewconnors.com\/Poetics-Text,type:page,title:Poetics Text,title_no_html:Poetics Text,tags:,display:false,pin:true,pin_options:{position:top,overlay:true,accommodate:false,fixed:true,exclude_mobile:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:THE POETICS\n\nIn July of 2017, photographer Matthew Connors and novelist Lucy Ives embarked on a strange project: to remove and catalog all the contents of...,content:br>\nbr>br>b>THE POETICS\/b>br>\nsmall>In July of 2017, photographer Matthew Connors and novelist Lucy Ives embarked on a strange project: to remove and catalog all the contents of Connorss car, a 1992 Volvo 240 station wagon.\/small>br>br>small>Although the New York\u2013based duo began the endeavor without knowing where it would lead, their investigation\u2014of parts, tools, ephemera, litter, personal items, unidentifiable disjecta, among other objects\u2014lasted more than two years and resulted in a series of photographs by Connors and an essay by Ives on narrative forms and temporalities inherent to contemporary media.\/small>br>br>hr>br>\na href\Books-FireInCairo\ rel\history\>\/a>i>a href\Books-ThePoetics\ rel\history\>The Poetics\/a>\/i>br>small>Photographs by Matthew Connors\/small>br>small>Text by Lucy Ives\/small>br>small>Design by Elana Schlenker\/small>br>small>Image Text Ithaca Press, 2019\/small>br>small>Softcover, 188 pages, 5.25 x 8 in.\/small>br>small>Edition of 600\/small>\nbr>br>hr>\nbr>\nsmall>a href\https:\/\/collectordaily.com\/matthew-connors-and-lucy-ives-the-poetics\/\ target\_blank\>small>\/small>\/a>\/small>a href\https:\/\/collectordaily.com\/matthew-connors-and-lucy-ives-the-poetics\/\ target\_blank\>Review by Olga Yatskevich, Collector Daily\/a>\nbr>\na href\https:\/\/brooklynrail.org\/2020\/07\/books\/Partial-Reveals-Inclusive-Revelations-in-the-Post-Truth-Simulacracy\ target\_blank\>Review by Chris Campanioni, The Brooklyn Rail\/a>small>a href\https:\/\/brooklynrail.org\/2020\/07\/books\/Partial-Reveals-Inclusive-Revelations-in-the-Post-Truth-Simulacracy\ target\_blank\>\/a>\/small>br>\nbr>,content_no_html:\nTHE POETICS\nIn July of 2017, photographer Matthew Connors and novelist Lucy Ives embarked on a strange project: to remove and catalog all the contents of Connorss car, a 1992 Volvo 240 station wagon.Although the New York\u2013based duo began the endeavor without knowing where it would lead, their investigation\u2014of parts, tools, ephemera, litter, personal items, unidentifiable disjecta, among other objects\u2014lasted more than two years and resulted in a series of photographs by Connors and an essay by Ives on narrative forms and temporalities inherent to contemporary media.\nThe PoeticsPhotographs by Matthew ConnorsText by Lucy IvesDesign by Elana SchlenkerImage Text Ithaca Press, 2019Softcover, 188 pages, 5.25 x 8 in.Edition of 600\n\n\nReview by Olga Yatskevich, Collector Daily\n\nReview by Chris Campanioni, The Brooklyn Rail\n,content_partial_html:br>\nbr>br>b>THE POETICS\/b>br>\nIn July of 2017, photographer Matthew Connors and novelist Lucy Ives embarked on a strange project: to remove and catalog all the contents of Connorss car, a 1992 Volvo 240 station wagon.br>br>Although the New York\u2013based duo began the endeavor without knowing where it would lead, their investigation\u2014of parts, tools, ephemera, litter, personal items, unidentifiable disjecta, among other objects\u2014lasted more than two years and resulted in a series of photographs by Connors and an essay by Ives on narrative forms and temporalities inherent to contemporary media.br>br>hr>br>\na href\Books-FireInCairo\ rel\history\>\/a>i>a href\Books-ThePoetics\ rel\history\>The Poetics\/a>\/i>br>Photographs by Matthew Connorsbr>Text by Lucy Ivesbr>Design by Elana Schlenkerbr>Image Text Ithaca Press, 2019br>Softcover, 188 pages, 5.25 x 8 in.br>Edition of 600\nbr>br>hr>\nbr>\na href\https:\/\/collectordaily.com\/matthew-connors-and-lucy-ives-the-poetics\/\ target\_blank\>\/a>a href\https:\/\/collectordaily.com\/matthew-connors-and-lucy-ives-the-poetics\/\ target\_blank\>Review by Olga Yatskevich, Collector Daily\/a>\nbr>\na href\https:\/\/brooklynrail.org\/2020\/07\/books\/Partial-Reveals-Inclusive-Revelations-in-the-Post-Truth-Simulacracy\ target\_blank\>Review by Chris Campanioni, The Brooklyn Rail\/a>a href\https:\/\/brooklynrail.org\/2020\/07\/books\/Partial-Reveals-Inclusive-Revelations-in-the-Post-Truth-Simulacracy\ target\_blank\>\/a>br>\nbr>,thumb:85224939,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:85224939,project_id:15688508,image_ref:{image 1},name:Fire_In_Cairo_Cover.jpg,hash:1739a1663c77a480d56903c33605a978390babda0813af82177980e51dead79c,width:1680,height:1200,sort:0,exclude_from_backdrop:false,date_added:1602372717},stored:{ratio:71.428571428571,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:false,sort:28,index:0,set_id:16058967,page_options:{using_local_css:true,local_css:local-style\15688508\ .container_width {\n\twidth: 26% \/*!variable_defaults*\/;\n}\n\nlocal-style\15688508\ body {\n\tbackground-color: initial \/*!variable_defaults*\/;\n}\n\nlocal-style\15688508\ .backdrop {\n\twidth: 100% \/*!background_cover*\/;\n}\n\nlocal-style\15688508\ .page {\n}\n\nlocal-style\15688508\ .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\nlocal-style\15688508\ .content_padding {\n\tpadding-top: 1rem 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261},name:17SM_00347.jpeg,hash:baebd8d2cd48508d2227d67bfbe3932eebf85dee2e2453484a58e45b14a0df18,width:900,height:1200,sort:0,exclude_from_backdrop:false,date_added:1604797307},{id:88069181,project_id:16177440,image_ref:{image 262},name:17SM_00281.jpeg,hash:09c27234aedcbe912149d3841fcc75021385d01a1473c34a638b6be699e580a0,width:900,height:1200,sort:0,exclude_from_backdrop:false,date_added:1604797307},backdrop:null},{id:16177442,site_id:868680,project_url:Poetics-Text-Mobile,direct_link:https:\/\/matthewconnors.com\/Poetics-Text-Mobile,type:page,title:Poetics Text Mobile,title_no_html:Poetics Text Mobile,tags:,display:false,pin:true,pin_options:{position:top,overlay:false,accommodate:true,fixed:false,exclude_mobile:false,exclude_desktop:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:THE POETICS\n\nIn July of 2017, photographer Matthew Connors and novelist Lucy Ives embarked on a strange project: to remove and catalog all the contents of Connorss...,content:b>THE POETICS\/b>br>\nsmall>In July of 2017, photographer Matthew Connors and novelist Lucy Ives embarked on a strange project: to remove and catalog all the contents of Connorss car, a 1992 Volvo 240 station wagon.\/small>br>br>small>Although the New York\u2013based duo began the endeavor without knowing where it would lead, their investigation\u2014of parts, tools, ephemera, litter, personal items, unidentifiable disjecta, among other objects\u2014lasted more than two years and resulted in a series of photographs by Connors and an essay by Ives on narrative forms and temporalities inherent to contemporary media.\/small>br>br>hr>br>\na href\Books-FireInCairo\ rel\history\>\/a>i>a href\Books-ThePoetics\ rel\history\>The Poetics\/a>\/i>br>small>Photographs by Matthew Connors\/small>br>small>Text by Lucy Ives\/small>br>small>Design by Elana Schlenker\/small>br>small>Image Text Ithaca Press, 2019\/small>br>small>Softcover, 188 pages, 5.25 x 8 in.\/small>br>small>Edition of 600\/small>\nbr>br>hr>\nbr>\nsmall>a href\https:\/\/collectordaily.com\/matthew-connors-and-lucy-ives-the-poetics\/\ target\_blank\>small>\/small>\/a>small>a href\https:\/\/collectordaily.com\/matthew-connors-and-lucy-ives-the-poetics\/\ target\_blank\>Review by Olga Yatskevich, Collector Daily\/a>\/small>\nbr>\nsmall>a href\https:\/\/brooklynrail.org\/2020\/07\/books\/Partial-Reveals-Inclusive-Revelations-in-the-Post-Truth-Simulacracy\ target\_blank\>Review by Chris Campanioni, The Brooklyn Rail\/a>\/small>\/small>small>a href\https:\/\/brooklynrail.org\/2020\/07\/books\/Partial-Reveals-Inclusive-Revelations-in-the-Post-Truth-Simulacracy\ target\_blank\>\/a>\/small>br>\nbr>,content_no_html:THE POETICS\nIn July of 2017, photographer Matthew Connors and novelist Lucy Ives embarked on a strange project: to remove and catalog all the contents of Connorss car, a 1992 Volvo 240 station wagon.Although the New York\u2013based duo began the endeavor without knowing where it would lead, their investigation\u2014of parts, tools, ephemera, litter, personal items, unidentifiable disjecta, among other objects\u2014lasted more than two years and resulted in a series of photographs by Connors and an essay by Ives on narrative forms and temporalities inherent to contemporary media.\nThe PoeticsPhotographs by Matthew ConnorsText by Lucy IvesDesign by Elana SchlenkerImage Text Ithaca Press, 2019Softcover, 188 pages, 5.25 x 8 in.Edition of 600\n\n\nReview by Olga Yatskevich, Collector Daily\n\nReview by Chris Campanioni, The Brooklyn Rail\n,content_partial_html:b>THE POETICS\/b>br>\nIn July of 2017, photographer Matthew Connors and novelist Lucy Ives embarked on a strange project: to remove and catalog all the contents of Connorss car, a 1992 Volvo 240 station wagon.br>br>Although the New York\u2013based duo began the endeavor without knowing where it would lead, their investigation\u2014of parts, tools, ephemera, litter, personal items, unidentifiable disjecta, among other objects\u2014lasted more than two years and resulted in a series of photographs by Connors and an essay by Ives on narrative forms and temporalities inherent to contemporary media.br>br>hr>br>\na href\Books-FireInCairo\ rel\history\>\/a>i>a href\Books-ThePoetics\ rel\history\>The Poetics\/a>\/i>br>Photographs by Matthew Connorsbr>Text by Lucy Ivesbr>Design by Elana Schlenkerbr>Image Text Ithaca Press, 2019br>Softcover, 188 pages, 5.25 x 8 in.br>Edition of 600\nbr>br>hr>\nbr>\na href\https:\/\/collectordaily.com\/matthew-connors-and-lucy-ives-the-poetics\/\ target\_blank\>\/a>a href\https:\/\/collectordaily.com\/matthew-connors-and-lucy-ives-the-poetics\/\ target\_blank\>Review by Olga Yatskevich, Collector Daily\/a>\nbr>\na href\https:\/\/brooklynrail.org\/2020\/07\/books\/Partial-Reveals-Inclusive-Revelations-in-the-Post-Truth-Simulacracy\ target\_blank\>Review by Chris Campanioni, The Brooklyn Rail\/a>a 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Text,title_no_html:FIC Text,tags:,display:false,pin:true,pin_options:{position:top,overlay:true,accommodate:false,fixed:true,exclude_mobile:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:FIRE IN CAIRO\n\nFire in Cairo emerged from Egypt as an oblique and fragmentary document of revolutionary struggle. The work charts Connors\u2019 uneasy engagement...,content:br>\nbr>br>b>FIRE IN CAIRO\/b>br>\ni>Fire in Cairo\/i> emerged from Egypt as an oblique and fragmentary document of revolutionary struggle. The work charts Connors\u2019 uneasy engagement with the political turmoil that gripped the nation during its rapidly unfolding history. The complexity of the situation resisted comprehensive explanation, but invited metaphorical speculation. In his images, Cairo reveals itself to be an enormous studio for social change, ripe with visual, sculptural, and atmospheric residues of resistance. He weaves these together with portraits of Egyptians from across the political spectrum and his own experimental fiction. The result is a book that careens between reportage, poetry, and surrealism to heighten the tensions between beauty, threat, and historical consequence.br>br>hr>br>\ni>a href\Books-FireInCairo\ rel\history\>Fire in Cairo\/a>\/i>br>\na href\Books-FireInCairo\ rel\history\>i>small>Photographs and text by Matthew Connors\/small> small>Design by Antonio de Luca\/small>br>small>SPBH Editions, London, 2015\/small>br>small>Hardcover, lithography, 148 pages, 7.85 x 10 in.\/small>br>small>Edition of 1000\/small>\/i>\/a>\nbr>br>hr>\nbr>\na href\frieze-books\ rel\history\>small>small>\/small>\/small>\/a>a href\https:\/\/www.frieze.com\/article\/books-39\ target\_blank\>Review by Brian Sholis, i>frieze\/i>\/a>\nbr>\na href\https:\/\/www.lemonde.fr\/m-actu\/article\/2016\/01\/19\/un-autre-regard-sur-la-place-tahrir_4849958_4497186.html#meter_toaster\ target\_blank\>Review by H\u00e9l\u00e8ne Sallon, i>M, Le Magazine du Monde\/i>\/a>\nbr>\na href\https:\/\/americansuburbx.com\/2016\/05\/matthew-connors-cairos-crow-black-eye.html\ target\_blank\>Review by Brad Feuerhelm, i>AMERICAN SUBURB X\/i>\/a>\nbr>\na href\https:\/\/photomonitor.co.uk\/book\/fire-in-cairo\/\ target\_blank\>Review by Marco Bohr, i>Photomonitor\/i>\/a>\nbr>\na href\https:\/\/www.madamasr.com\/en\/2016\/02\/27\/panorama\/u\/a-critical-look-at-fire-in-cairo\/\ target\_blank\>Review by Ronnie Close, i>Mada Masr\/i>\/a>\nbr>\na href\https:\/\/blog.photoeye.com\/2015\/09\/book-review-fire-in-cairo.html\ target\_blank\>Review by Adam Bell, i>photo-eye\/i>br>\/a>a href\http:\/\/www.1000wordsmag.com\/matthew-connors\/\ target\_blank\>Review by Max Houghton, i>1000 Words\/i>\/a>br>a href\http:\/\/cphmag.com\/reviews-w362015\/\ target\_blank\>Review by Jorg M. Colberg, i>Conscientious Photo Magazine\/i>\/a>\nbr>\na href\https:\/\/collectordaily.com\/matthew-connors-fire-in-cairo\/\ target\_blank\>Review by Olga Yatskevich, i>Collector Daily\/i>br>\/a>a href\http:\/\/time.com\/4050829\/fire-in-cairo-revisiting-the-revolution-in-egypt\/\ target\_blank\>Review by Paul Moakley, i>TIME\/i>\/a>\nbr>\na href\BJP-Fire-in-Cairo\ rel\history\>Review by Lucy Davies, i>British Journal of Photography\/i>\n\/a>br>br>a href\https:\/\/tunicastudio.com\/matthew-connors\/\ target\_blank\>Interview with Clara Balaguer and Czar Kristoff, i>TUNICA Magazine \/i>\/a>\na href\https:\/\/www.frieze.com\/article\/books-39\ target\_blank\>\/a>\nbr>,content_no_html:\nFIRE IN CAIRO\nFire in Cairo emerged from Egypt as an oblique and fragmentary document of revolutionary struggle. The work charts Connors\u2019 uneasy engagement with the political turmoil that gripped the nation during its rapidly unfolding history. The complexity of the situation resisted comprehensive explanation, but invited metaphorical speculation. In his images, Cairo reveals itself to be an enormous studio for social change, ripe with visual, sculptural, and atmospheric residues of resistance. He weaves these together with portraits of Egyptians from across the political spectrum and his own experimental fiction. The result is a book that careens between reportage, poetry, and surrealism to heighten the tensions between beauty, threat, and historical consequence.\nFire in Cairo\nPhotographs and text by Matthew Connors Design by Antonio de LucaSPBH Editions, London, 2015Hardcover, lithography, 148 pages, 7.85 x 10 in.Edition of 1000\n\n\nReview by Brian Sholis, frieze\n\nReview by H\u00e9l\u00e8ne Sallon, M, Le Magazine du Monde\n\nReview by Brad Feuerhelm, AMERICAN SUBURB X\n\nReview by Marco Bohr, Photomonitor\n\nReview by Ronnie Close, Mada Masr\n\nReview by Adam Bell, photo-eyeReview by Max Houghton, 1000 WordsReview by Jorg M. Colberg, Conscientious Photo Magazine\n\nReview by Olga Yatskevich, Collector DailyReview by Paul Moakley, TIME\n\nReview by Lucy Davies, British Journal of Photography\nInterview with Clara Balaguer and Czar Kristoff, TUNICA Magazine \n\n,content_partial_html:br>\nbr>br>b>FIRE IN CAIRO\/b>br>\ni>Fire in Cairo\/i> emerged from Egypt as an oblique and fragmentary document of revolutionary struggle. The work charts Connors\u2019 uneasy engagement with the political turmoil that gripped the nation during its rapidly unfolding history. The complexity of the situation resisted comprehensive explanation, but invited metaphorical speculation. In his images, Cairo reveals itself to be an enormous studio for social change, ripe with visual, sculptural, and atmospheric residues of resistance. He weaves these together with portraits of Egyptians from across the political spectrum and his own experimental fiction. The result is a book that careens between reportage, poetry, and surrealism to heighten the tensions between beauty, threat, and historical consequence.br>br>hr>br>\ni>a href\Books-FireInCairo\ rel\history\>Fire in Cairo\/a>\/i>br>\na href\Books-FireInCairo\ rel\history\>i>Photographs and text by Matthew Connors Design by Antonio de Lucabr>SPBH Editions, London, 2015br>Hardcover, lithography, 148 pages, 7.85 x 10 in.br>Edition of 1000\/i>\/a>\nbr>br>hr>\nbr>\na href\frieze-books\ rel\history\>\/a>a href\https:\/\/www.frieze.com\/article\/books-39\ target\_blank\>Review by Brian Sholis, i>frieze\/i>\/a>\nbr>\na href\https:\/\/www.lemonde.fr\/m-actu\/article\/2016\/01\/19\/un-autre-regard-sur-la-place-tahrir_4849958_4497186.html#meter_toaster\ target\_blank\>Review by H\u00e9l\u00e8ne Sallon, i>M, Le Magazine du Monde\/i>\/a>\nbr>\na href\https:\/\/americansuburbx.com\/2016\/05\/matthew-connors-cairos-crow-black-eye.html\ target\_blank\>Review by Brad Feuerhelm, i>AMERICAN SUBURB X\/i>\/a>\nbr>\na href\https:\/\/photomonitor.co.uk\/book\/fire-in-cairo\/\ target\_blank\>Review by Marco Bohr, i>Photomonitor\/i>\/a>\nbr>\na href\https:\/\/www.madamasr.com\/en\/2016\/02\/27\/panorama\/u\/a-critical-look-at-fire-in-cairo\/\ target\_blank\>Review by Ronnie Close, i>Mada Masr\/i>\/a>\nbr>\na href\https:\/\/blog.photoeye.com\/2015\/09\/book-review-fire-in-cairo.html\ target\_blank\>Review by Adam Bell, i>photo-eye\/i>br>\/a>a href\http:\/\/www.1000wordsmag.com\/matthew-connors\/\ target\_blank\>Review by Max Houghton, i>1000 Words\/i>\/a>br>a href\http:\/\/cphmag.com\/reviews-w362015\/\ target\_blank\>Review by Jorg M. Colberg, i>Conscientious Photo Magazine\/i>\/a>\nbr>\na href\https:\/\/collectordaily.com\/matthew-connors-fire-in-cairo\/\ target\_blank\>Review by Olga Yatskevich, i>Collector Daily\/i>br>\/a>a href\http:\/\/time.com\/4050829\/fire-in-cairo-revisiting-the-revolution-in-egypt\/\ target\_blank\>Review by Paul Moakley, i>TIME\/i>\/a>\nbr>\na href\BJP-Fire-in-Cairo\ rel\history\>Review by Lucy Davies, i>British Journal of Photography\/i>\n\/a>br>br>a href\https:\/\/tunicastudio.com\/matthew-connors\/\ target\_blank\>Interview with Clara Balaguer and Czar Kristoff, i>TUNICA Magazine \/i>\/a>\na href\https:\/\/www.frieze.com\/article\/books-39\ target\_blank\>\/a>\nbr>,thumb:83798578,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:83798578,project_id:15439289,image_ref:{image 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The work charts Connors\u2019 uneasy engagement with...,content:b>FIRE IN CAIRO\/b>br>\ni>Fire in Cairo\/i> emerged from Egypt as an oblique and fragmentary document of revolutionary struggle. The work charts Connors\u2019 uneasy engagement with the political turmoil that gripped the nation during its rapidly unfolding history. The complexity of the situation resisted comprehensive explanation, but invited metaphorical speculation. In his images, Cairo reveals itself to be an enormous studio for social change, ripe with visual, sculptural, and atmospheric residues of resistance. He weaves these together with portraits of Egyptians from across the political spectrum and his own experimental fiction. The result is a book that careens between reportage, poetry, and surrealism to heighten the tensions between beauty, threat, and historical consequence.br>br>hr>br>\ni>a href\Books-FireInCairo\ rel\history\>Fire in Cairo\/a>\/i>br>\na href\Books-FireInCairo\ rel\history\>i>small>Photographs and text by Matthew Connors\/small> small>Design by Antonio de Luca\/small>br>small>SPBH Editions, London, 2015\/small>br>small>Hardcover, lithography, 148 pages, 7.85 x 10 in.\/small>br>small>Edition of 1000\/small>\/i>\/a>\nbr>br>hr>\nbr>\na href\frieze-books\ rel\history\>small>small>\/small>\/small>\/a>small>small>a href\https:\/\/www.frieze.com\/article\/books-39\ target\_blank\>Review by Brian Sholis, i>frieze\/i>\/a>\/small>br>\na href\https:\/\/www.lemonde.fr\/m-actu\/article\/2016\/01\/19\/un-autre-regard-sur-la-place-tahrir_4849958_4497186.html#meter_toaster\ target\_blank\>Review by H\u00e9l\u00e8ne Sallon, i>M, Le Magazine du Monde\/i>\/a>\nbr>\na href\https:\/\/americansuburbx.com\/2016\/05\/matthew-connors-cairos-crow-black-eye.html\ target\_blank\>Review by Brad Feuerhelm, i>AMERICAN SUBURB X\/i>\/a>br>\na href\https:\/\/photomonitor.co.uk\/book\/fire-in-cairo\/\ target\_blank\>Review by Marco Bohr, i>Photomonitor\/i>\/a>br>\na href\https:\/\/www.madamasr.com\/en\/2016\/02\/27\/panorama\/u\/a-critical-look-at-fire-in-cairo\/\ target\_blank\>Review by Ronnie Close, i>Mada Masr\/i>\/a>br>\nsmall>a href\https:\/\/blog.photoeye.com\/2015\/09\/book-review-fire-in-cairo.html\ target\_blank\>Review by Adam Bell, i>photo-eye\/i>br>\/a>a href\http:\/\/www.1000wordsmag.com\/matthew-connors\/\ target\_blank\>Review by Max Houghton, i>1000 Words\/i>\/a>br>a href\http:\/\/cphmag.com\/reviews-w362015\/\ target\_blank\>Review by Jorg M. Colberg, i>Conscientious Photo Magazine\/i>\/a>br>\na href\https:\/\/collectordaily.com\/matthew-connors-fire-in-cairo\/\ target\_blank\>Review by Olga Yatskevich, i>Collector Daily\/i>br>\/a>a href\http:\/\/time.com\/4050829\/fire-in-cairo-revisiting-the-revolution-in-egypt\/\ target\_blank\>Review by Paul Moakley, i>TIME\/i>\/a>\/small>\/small>a href\BJP-Fire-in-Cairo\ rel\history\>Review by Lucy Davies, i>British Journal of Photography\/i>\n\/a>br>br>a href\https:\/\/tunicastudio.com\/matthew-connors\/\>Interview with Clara Balaguer and Czar Kristoff, i>TUNICA Magazine \/i>\/a>\na href\https:\/\/www.frieze.com\/article\/books-39\ target\_blank\>\/a>\nbr>,content_no_html:FIRE IN CAIRO\nFire in Cairo emerged from Egypt as an oblique and fragmentary document of revolutionary struggle. The work charts Connors\u2019 uneasy engagement with the political turmoil that gripped the nation during its rapidly unfolding history. The complexity of the situation resisted comprehensive explanation, but invited metaphorical speculation. In his images, Cairo reveals itself to be an enormous studio for social change, ripe with visual, sculptural, and atmospheric residues of resistance. He weaves these together with portraits of Egyptians from across the political spectrum and his own experimental fiction. The result is a book that careens between reportage, poetry, and surrealism to heighten the tensions between beauty, threat, and historical consequence.\nFire in Cairo\nPhotographs and text by Matthew Connors Design by Antonio de LucaSPBH Editions, London, 2015Hardcover, lithography, 148 pages, 7.85 x 10 in.Edition of 1000\n\n\nReview by Brian Sholis, frieze\nReview by H\u00e9l\u00e8ne Sallon, M, Le Magazine du Monde\n\nReview by Brad Feuerhelm, AMERICAN SUBURB X\nReview by Marco Bohr, Photomonitor\nReview by Ronnie Close, Mada Masr\nReview by Adam Bell, photo-eyeReview by Max Houghton, 1000 WordsReview by Jorg M. Colberg, Conscientious Photo Magazine\nReview by Olga Yatskevich, Collector DailyReview by Paul Moakley, TIMEReview by Lucy Davies, British Journal of Photography\nInterview with Clara Balaguer and Czar Kristoff, TUNICA Magazine \n\n,content_partial_html:b>FIRE IN CAIRO\/b>br>\ni>Fire in Cairo\/i> emerged from Egypt as an oblique and fragmentary document of revolutionary struggle. The work charts Connors\u2019 uneasy engagement with the political turmoil that gripped the nation during its rapidly unfolding history. The complexity of the situation resisted comprehensive explanation, but invited metaphorical speculation. In his images, Cairo reveals itself to be an enormous studio for social change, ripe with visual, sculptural, and atmospheric residues of resistance. He weaves these together with portraits of Egyptians from across the political spectrum and his own experimental fiction. The result is a book that careens between reportage, poetry, and surrealism to heighten the tensions between beauty, threat, and historical consequence.br>br>hr>br>\ni>a href\Books-FireInCairo\ rel\history\>Fire in Cairo\/a>\/i>br>\na href\Books-FireInCairo\ rel\history\>i>Photographs and text by Matthew Connors Design by Antonio de Lucabr>SPBH Editions, London, 2015br>Hardcover, lithography, 148 pages, 7.85 x 10 in.br>Edition of 1000\/i>\/a>\nbr>br>hr>\nbr>\na href\frieze-books\ rel\history\>\/a>a href\https:\/\/www.frieze.com\/article\/books-39\ target\_blank\>Review by Brian Sholis, i>frieze\/i>\/a>br>\na href\https:\/\/www.lemonde.fr\/m-actu\/article\/2016\/01\/19\/un-autre-regard-sur-la-place-tahrir_4849958_4497186.html#meter_toaster\ target\_blank\>Review by H\u00e9l\u00e8ne Sallon, i>M, Le Magazine du Monde\/i>\/a>\nbr>\na href\https:\/\/americansuburbx.com\/2016\/05\/matthew-connors-cairos-crow-black-eye.html\ target\_blank\>Review by Brad Feuerhelm, i>AMERICAN SUBURB X\/i>\/a>br>\na href\https:\/\/photomonitor.co.uk\/book\/fire-in-cairo\/\ target\_blank\>Review by Marco Bohr, i>Photomonitor\/i>\/a>br>\na href\https:\/\/www.madamasr.com\/en\/2016\/02\/27\/panorama\/u\/a-critical-look-at-fire-in-cairo\/\ target\_blank\>Review by Ronnie Close, i>Mada Masr\/i>\/a>br>\na href\https:\/\/blog.photoeye.com\/2015\/09\/book-review-fire-in-cairo.html\ target\_blank\>Review by Adam Bell, i>photo-eye\/i>br>\/a>a href\http:\/\/www.1000wordsmag.com\/matthew-connors\/\ target\_blank\>Review by Max Houghton, i>1000 Words\/i>\/a>br>a href\http:\/\/cphmag.com\/reviews-w362015\/\ target\_blank\>Review by Jorg M. Colberg, i>Conscientious Photo Magazine\/i>\/a>br>\na href\https:\/\/collectordaily.com\/matthew-connors-fire-in-cairo\/\ target\_blank\>Review by Olga Yatskevich, i>Collector Daily\/i>br>\/a>a href\http:\/\/time.com\/4050829\/fire-in-cairo-revisiting-the-revolution-in-egypt\/\ target\_blank\>Review by Paul Moakley, i>TIME\/i>\/a>a href\BJP-Fire-in-Cairo\ rel\history\>Review by Lucy Davies, i>British Journal of Photography\/i>\n\/a>br>br>a href\https:\/\/tunicastudio.com\/matthew-connors\/\>Interview with Clara Balaguer and Czar Kristoff, i>TUNICA Magazine \/i>\/a>\na href\https:\/\/www.frieze.com\/article\/books-39\ target\_blank\>\/a>\nbr>,thumb:88069412,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:88069412,project_id:16177480,image_ref:{image 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Text,title_no_html:GA Text,tags:,display:false,pin:true,pin_options:{position:top,overlay:true,accommodate:false,fixed:true,exclude_mobile:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:GENERAL ASSEMBLY\n\n\nThe collective power of public assembly is one of the most effective instruments of opposition at the core of every protest movement. In the...,content:br>br>\nbr>\nb>GENERAL ASSEMBLY\/b>\nbr>\nThe collective power of public assembly is one of the most effective instruments of opposition at the core of every protest movement. In the wake of economic calamity, these protesters and activists congregated at the doorstep of New York Citys financial institutions to challenge the power of global capital and contemplate the contours of alternative systems. An array of divergent issues motivated them to participate in Occupy Wall Street, but together they were committed to reversing systematic inequality through direct democracy; regularly building consensus and cultivating radical inclusivity through the horizontal decision making process from which this series borrows its name.br>br>\nThese portraits were made in the charged atmosphere of Zuccotti Park, elsewhere in the city during direct actions, and at more contemplative moments before and after working group meetings and teach-ins. The pictures span the dynamic founding year of a movement whose legacy continues to unfold. These individuals represent only a small fraction of the Americans engaged in rebellion that year, but they are a concentrated expression of the conviction that this struggle is essential to our collective future. \nbr>hr>\n\nbr>\ni>a href\Books-GeneralAssembly\ rel\history\>General Assembly\/a>\/i>br>\nPhotographs and text by Matthew Connorsbr>\n665 pages, 650 imagesbr>\nInkjet printsbr>\nHardcover, bound by hand, 7.75 x 9.75 inches\nbr>\nbr>hr>br>a href\Books-ContactSheet\ rel\history\>i>Contact Sheet 208: Matthew Connors\/i>\n\/a>br>\nGeneral Assembly Exhibition Catalogue\n\nbr>\n\nPhotographs by Matthew Connors\nbr>\nText by Mary Lee Hodgens\nbr>\nLight Work, Syracuse, NY, 2020br>Softcover, 48 pages, 9 x 10 in.\nbr>Edition of 2700\nbr>br>hr>br>a href\https:\/\/www.lightwork.org\/archive\/matthew-connorsly-general-assembly\/\ target\_blank\>Light Work Exhibtion Video\/a> \nbr>\n\nbr>,content_no_html:\n\nGENERAL ASSEMBLY\n\nThe collective power of public assembly is one of the most effective instruments of opposition at the core of every protest movement. In the wake of economic calamity, these protesters and activists congregated at the doorstep of New York Citys financial institutions to challenge the power of global capital and contemplate the contours of alternative systems. An array of divergent issues motivated them to participate in Occupy Wall Street, but together they were committed to reversing systematic inequality through direct democracy; regularly building consensus and cultivating radical inclusivity through the horizontal decision making process from which this series borrows its name.\nThese portraits were made in the charged atmosphere of Zuccotti Park, elsewhere in the city during direct actions, and at more contemplative moments before and after working group meetings and teach-ins. The pictures span the dynamic founding year of a movement whose legacy continues to unfold. These individuals represent only a small fraction of the Americans engaged in rebellion that year, but they are a concentrated expression of the conviction that this struggle is essential to our collective future. \n\n\n\nGeneral Assembly\nPhotographs and text by Matthew Connors\n665 pages, 650 images\nInkjet prints\nHardcover, bound by hand, 7.75 x 9.75 inches\n\nContact Sheet 208: Matthew Connors\n\nGeneral Assembly Exhibition Catalogue\n\n\n\nPhotographs by Matthew Connors\n\nText by Mary Lee Hodgens\n\nLight Work, Syracuse, NY, 2020Softcover, 48 pages, 9 x 10 in.\nEdition of 2700\nLight Work Exhibtion Video \n\n\n,content_partial_html:br>br>\nbr>\nb>GENERAL ASSEMBLY\/b>\nbr>\nThe collective power of public assembly is one of the most effective instruments of opposition at the core of every protest movement. In the wake of economic calamity, these protesters and activists congregated at the doorstep of New York Citys financial institutions to challenge the power of global capital and contemplate the contours of alternative systems. An array of divergent issues motivated them to participate in Occupy Wall Street, but together they were committed to reversing systematic inequality through direct democracy; regularly building consensus and cultivating radical inclusivity through the horizontal decision making process from which this series borrows its name.br>br>\nThese portraits were made in the charged atmosphere of Zuccotti Park, elsewhere in the city during direct actions, and at more contemplative moments before and after working group meetings and teach-ins. The pictures span the dynamic founding year of a movement whose legacy continues to unfold. These individuals represent only a small fraction of the Americans engaged in rebellion that year, but they are a concentrated expression of the conviction that this struggle is essential to our collective future. \nbr>hr>\n\nbr>\ni>a href\Books-GeneralAssembly\ rel\history\>General Assembly\/a>\/i>br>\nPhotographs and text by Matthew Connorsbr>\n665 pages, 650 imagesbr>\nInkjet printsbr>\nHardcover, bound by hand, 7.75 x 9.75 inches\nbr>\nbr>hr>br>a href\Books-ContactSheet\ rel\history\>i>Contact Sheet 208: Matthew Connors\/i>\n\/a>br>\nGeneral Assembly Exhibition Catalogue\n\nbr>\n\nPhotographs by Matthew Connors\nbr>\nText by Mary Lee Hodgens\nbr>\nLight Work, Syracuse, NY, 2020br>Softcover, 48 pages, 9 x 10 in.\nbr>Edition of 2700\nbr>br>hr>br>a href\https:\/\/www.lightwork.org\/archive\/matthew-connorsly-general-assembly\/\ target\_blank\>Light Work Exhibtion Video\/a> \nbr>\n\nbr>,thumb:83793316,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:83793316,project_id:15437512,image_ref:{image 1},name:BookInstallationShot.jpeg,hash:b7cc6c0ec95334ebe22e8bac3d991674d25616233208de12c8d388c8c8e704d6,width:889,height:1200,sort:0,exclude_from_backdrop:false,date_added:1601067573},stored:{ratio:134.98312710911,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:false,sort:38,index:0,set_id:16058928,page_options:{using_local_css:true,local_css:local-style\15437512\ .container_width {\n\twidth: 26% \/*!variable_defaults*\/;\n}\n\nlocal-style\15437512\ body {\n\tbackground-color: initial \/*!variable_defaults*\/;\n}\n\nlocal-style\15437512\ .backdrop {\n\twidth: 100% \/*!background_cover*\/;\n}\n\nlocal-style\15437512\ .page {\n}\n\nlocal-style\15437512\ .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\nlocal-style\15437512\ .content_padding {\n\tpadding-top: 1rem 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Mobile,tags:,display:false,pin:true,pin_options:{position:top,overlay:false,fixed:false,accommodate:true,exclude_mobile:false,exclude_desktop:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:,content:br>div class\image-gallery\ data-gallery\%7B%22mode_id%22%3A1%2C%22gallery_instance_id%22%3A19%2C%22name%22%3A%22Grid%22%2C%22path%22%3A%22grid%22%2C%22data%22%3A%7B%22column_size%22%3A9%2C%22columns%22%3A%224%22%2C%22image_padding%22%3A%220.5%22%2C%22responsive%22%3Atrue%2C%22mobile_data%22%3A%7B%22columns%22%3A2%2C%22column_size%22%3A9%2C%22image_padding%22%3A%220.25%22%2C%22separate_mobile_view%22%3Afalse%7D%2C%22meta_data%22%3A%7B%7D%2C%22responsive_columns%22%3A%224%22%2C%22responsive_image_padding%22%3A%220.25%22%7D%7D\>\nimg width\857\ height\1200\ width_o\857\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/076f77edd0dc9f0b13dc4548db99102574c3122853817055b10016f6a9395fe8\/12SM_2588__.jpeg\ data-mid\88069644\ 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233},name:12SM_3492__.jpeg,hash:7124bfdf2e8f7344ee4e114162d43c0e25790605f409e9267cca8987ac301587,width:857,height:1200,sort:0,exclude_from_backdrop:false,date_added:1604798207},backdrop:null},{id:16177538,site_id:868680,project_url:GA-Text-Mobile,direct_link:https:\/\/matthewconnors.com\/GA-Text-Mobile,type:page,title:GA Text Mobile,title_no_html:GA Text Mobile,tags:,display:false,pin:true,pin_options:{position:top,overlay:false,accommodate:true,fixed:false,exclude_mobile:false,exclude_desktop:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:GENERAL ASSEMBLY\n\n\nThe collective power of public assembly is one of the most effective instruments of opposition at the core of every protest movement. In the wake...,content:b>GENERAL ASSEMBLY\/b>\nbr>\nThe collective power of public assembly is one of the most effective instruments of opposition at the core of every protest movement. In the wake of economic calamity, these protesters and activists congregated at the doorstep of New York Citys financial institutions to challenge the power of global capital and contemplate the contours of alternative systems. An array of divergent issues motivated them to participate in Occupy Wall Street, but together they were committed to reversing systematic inequality through direct democracy; regularly building consensus and cultivating radical inclusivity through the horizontal decision making process from which this series borrows its name.br>br>\nThese portraits were made in the charged atmosphere of Zuccotti Park, elsewhere in the city during direct actions, and at more contemplative moments before and after working group meetings and teach-ins. The pictures span the dynamic founding year of a movement whose legacy continues to unfold. These individuals represent only a small fraction of the Americans engaged in rebellion that year, but they are a concentrated expression of the conviction that this struggle is essential to our collective future. \nbr>hr>\n\nbr>\ni>a href\Books-GeneralAssembly\ rel\history\>General Assembly\/a>\/i>br>\nPhotographs and text by Matthew Connorsbr>\n665 pages, 650 imagesbr>\nInkjet printsbr>\nHardcover, bound by hand, 7.75 x 9.75 inches\nbr>\nbr>hr>br>a href\Books-ContactSheet\ rel\history\>i>Contact Sheet 208: Matthew Connors\/i>\n\/a>br>\nGeneral Assembly Exhibition Catalogue\n\nbr>\n\nPhotographs by Matthew Connors\nbr>\nText by Mary Lee Hodgens\nbr>\nLight Work, Syracuse, NY, 2020br>Softcover, 48 pages, 9 x 10 in.\nbr>Edition of 2700\nbr>br>hr>br>a href\https:\/\/www.lightwork.org\/archive\/matthew-connorsly-general-assembly\/\ target\_blank\>Light Work Exhibtion Video\/a> \nbr>\n\nbr>,content_no_html:GENERAL ASSEMBLY\n\nThe collective power of public assembly is one of the most effective instruments of opposition at the core of every protest movement. In the wake of economic calamity, these protesters and activists congregated at the doorstep of New York Citys financial institutions to challenge the power of global capital and contemplate the contours of alternative systems. An array of divergent issues motivated them to participate in Occupy Wall Street, but together they were committed to reversing systematic inequality through direct democracy; regularly building consensus and cultivating radical inclusivity through the horizontal decision making process from which this series borrows its name.\nThese portraits were made in the charged atmosphere of Zuccotti Park, elsewhere in the city during direct actions, and at more contemplative moments before and after working group meetings and teach-ins. The pictures span the dynamic founding year of a movement whose legacy continues to unfold. These individuals represent only a small fraction of the Americans engaged in rebellion that year, but they are a concentrated expression of the conviction that this struggle is essential to our collective future. \n\n\n\nGeneral Assembly\nPhotographs and text by Matthew Connors\n665 pages, 650 images\nInkjet prints\nHardcover, bound by hand, 7.75 x 9.75 inches\n\nContact Sheet 208: Matthew Connors\n\nGeneral Assembly Exhibition Catalogue\n\n\n\nPhotographs by Matthew Connors\n\nText by Mary Lee Hodgens\n\nLight Work, Syracuse, NY, 2020Softcover, 48 pages, 9 x 10 in.\nEdition of 2700\nLight Work Exhibtion Video \n\n\n,content_partial_html:b>GENERAL ASSEMBLY\/b>\nbr>\nThe collective power of public assembly is one of the most effective instruments of opposition at the core of every protest movement. In the wake of economic calamity, these protesters and activists congregated at the doorstep of New York Citys financial institutions to challenge the power of global capital and contemplate the contours of alternative systems. An array of divergent issues motivated them to participate in Occupy Wall Street, but together they were committed to reversing systematic inequality through direct democracy; regularly building consensus and cultivating radical inclusivity through the horizontal decision making process from which this series borrows its name.br>br>\nThese portraits were made in the charged atmosphere of Zuccotti Park, elsewhere in the city during direct actions, and at more contemplative moments before and after working group meetings and teach-ins. The pictures span the dynamic founding year of a movement whose legacy continues to unfold. These individuals represent only a small fraction of the Americans engaged in rebellion that year, but they are a concentrated expression of the conviction that this struggle is essential to our collective future. \nbr>hr>\n\nbr>\ni>a href\Books-GeneralAssembly\ rel\history\>General Assembly\/a>\/i>br>\nPhotographs and text by Matthew Connorsbr>\n665 pages, 650 imagesbr>\nInkjet printsbr>\nHardcover, bound by hand, 7.75 x 9.75 inches\nbr>\nbr>hr>br>a href\Books-ContactSheet\ rel\history\>i>Contact Sheet 208: Matthew Connors\/i>\n\/a>br>\nGeneral Assembly Exhibition Catalogue\n\nbr>\n\nPhotographs by Matthew Connors\nbr>\nText by Mary Lee Hodgens\nbr>\nLight Work, Syracuse, NY, 2020br>Softcover, 48 pages, 9 x 10 in.\nbr>Edition of 2700\nbr>br>hr>br>a href\https:\/\/www.lightwork.org\/archive\/matthew-connorsly-general-assembly\/\ target\_blank\>Light Work Exhibtion Video\/a> \nbr>\n\nbr>,thumb:88069721,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:88069721,project_id:16177538,image_ref:{image 1},name:BookInstallationShot.jpeg,hash:b7cc6c0ec95334ebe22e8bac3d991674d25616233208de12c8d388c8c8e704d6,width:889,height:1200,sort:0,exclude_from_backdrop:false,date_added:1604798273},stored:{ratio:134.98312710911,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:false,sort:40,index:0,set_id:16058928,page_options:{using_local_css:true,local_css:local-style\16177538\ .container_width {\n\twidth: 26% \/*!variable_defaults*\/;\n}\n\nlocal-style\16177538\ body {\n\tbackground-color: initial \/*!variable_defaults*\/;\n}\n\nlocal-style\16177538\ .backdrop {\n\twidth: 100% \/*!background_cover*\/;\n}\n\nlocal-style\16177538\ .page {\n}\n\nlocal-style\16177538\ .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\nlocal-style\16177538\ .content_padding {\n\tpadding-top: 1rem 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Yet hidden in the work are...,content:br>\nbr>\nbr>\nsmall>b>TENUOUS REPUBLICS\/b>br>\nMatthew Connors presents apparently straightforward narratives of people moving through public spaces. Yet hidden in the work are questions: What is the dynamic of a city? And how can photography reveal this? The cities in his work are real places - Hong Kong, New York, Reykjavik - with real inhabitants, but his photographs depict fictional encounters in anonymous post-industrial cityscapes. He digitally assembles images from many photographs taken at a single location, merging small incidents and details that occur over a period of time. Through this process, the photographs become Connors dramatization of missed interactions in a city. By seamlessly collaging a collection of moments into a single image, he challenges the idea that the temporal and spatial are inseparable. As in all good drama, the result is a waking dream, a believable conceit. The factual assumptions inherent in photography are called into question, as he softens the boundary between the probable and improbable.br>- Charlotte Cotton\/small>small>a href\http:\/\/www.parisphoto.com\/paris\/news\/photobook-awards-2015-the-shortlist\>\/a>\/small>\nbr>,content_no_html:\n\n\nTENUOUS REPUBLICS\nMatthew Connors presents apparently straightforward narratives of people moving through public spaces. Yet hidden in the work are questions: What is the dynamic of a city? And how can photography reveal this? The cities in his work are real places - Hong Kong, New York, Reykjavik - with real inhabitants, but his photographs depict fictional encounters in anonymous post-industrial cityscapes. He digitally assembles images from many photographs taken at a single location, merging small incidents and details that occur over a period of time. Through this process, the photographs become Connors dramatization of missed interactions in a city. By seamlessly collaging a collection of moments into a single image, he challenges the idea that the temporal and spatial are inseparable. As in all good drama, the result is a waking dream, a believable conceit. The factual assumptions inherent in photography are called into question, as he softens the boundary between the probable and improbable.- Charlotte Cotton\n,content_partial_html:br>\nbr>\nbr>\nb>TENUOUS REPUBLICS\/b>br>\nMatthew Connors presents apparently straightforward narratives of people moving through public spaces. Yet hidden in the work are questions: What is the dynamic of a city? And how can photography reveal this? The cities in his work are real places - Hong Kong, New York, Reykjavik - with real inhabitants, but his photographs depict fictional encounters in anonymous post-industrial cityscapes. He digitally assembles images from many photographs taken at a single location, merging small incidents and details that occur over a period of time. 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208},name:Aleppo_2007_07SM094_mc.jpeg,hash:516c11d5a0561da294202bf9ed430af9b995d8aa711f52758b33034a1f041a52,width:1722,height:1200,sort:0,exclude_from_backdrop:false,date_added:1604798987},backdrop:null},{id:16177580,site_id:868680,project_url:TR-Text-Mobile,direct_link:https:\/\/matthewconnors.com\/TR-Text-Mobile,type:page,title:TR Text Mobile,title_no_html:TR Text Mobile,tags:,display:false,pin:true,pin_options:{position:top,overlay:false,accommodate:true,fixed:false,exclude_mobile:false,exclude_desktop:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:TENUOUS REPUBLICS\n\nMatthew Connors presents apparently straightforward narratives of people moving through public spaces. Yet hidden in the work are questions:...,content:br>b>TENUOUS REPUBLICS\/b>br>\nMatthew Connors presents apparently straightforward narratives of people moving through public spaces. Yet hidden in the work are questions: What is the dynamic of a city? And how can photography reveal this? The cities in his work are real places - Hong Kong, New York, Reykjavik - with real inhabitants, but his photographs depict fictional encounters in anonymous post-industrial cityscapes. He digitally assembles images from many photographs taken at a single location, merging small incidents and details that occur over a period of time. Through this process, the photographs become Connors dramatization of missed interactions in a city. By seamlessly collaging a collection of moments into a single image, he challenges the idea that the temporal and spatial are inseparable. As in all good drama, the result is a waking dream, a believable conceit. The factual assumptions inherent in photography are called into question, as he softens the boundary between the probable and improbable.br>- Charlotte Cottonsmall>a href\http:\/\/www.parisphoto.com\/paris\/news\/photobook-awards-2015-the-shortlist\>\/a>\/small>\nbr>,content_no_html:TENUOUS REPUBLICS\nMatthew Connors presents apparently straightforward narratives of people moving through public spaces. Yet hidden in the work are questions: What is the dynamic of a city? And how can photography reveal this? The cities in his work are real places - Hong Kong, New York, Reykjavik - with real inhabitants, but his photographs depict fictional encounters in anonymous post-industrial cityscapes. He digitally assembles images from many photographs taken at a single location, merging small incidents and details that occur over a period of time. Through this process, the photographs become Connors dramatization of missed interactions in a city. By seamlessly collaging a collection of moments into a single image, he challenges the idea that the temporal and spatial are inseparable. As in all good drama, the result is a waking dream, a believable conceit. The factual assumptions inherent in photography are called into question, as he softens the boundary between the probable and improbable.- Charlotte Cotton\n,content_partial_html:br>b>TENUOUS REPUBLICS\/b>br>\nMatthew Connors presents apparently straightforward narratives of people moving through public spaces. Yet hidden in the work are questions: What is the dynamic of a city? And how can photography reveal this? The cities in his work are real places - Hong Kong, New York, Reykjavik - with real inhabitants, but his photographs depict fictional encounters in anonymous post-industrial cityscapes. He digitally assembles images from many photographs taken at a single location, merging small incidents and details that occur over a period of time. Through this process, the photographs become Connors dramatization of missed interactions in a city. By seamlessly collaging a collection of moments into a single image, he challenges the idea that the temporal and spatial are inseparable. As in all good drama, the result is a waking dream, a believable conceit. The factual assumptions inherent in photography are called into question, as he softens the boundary between the probable and improbable.br>- Charlotte Cottona href\http:\/\/www.parisphoto.com\/paris\/news\/photobook-awards-2015-the-shortlist\>\/a>\nbr>,thumb:,thumb_meta:null,thumb_is_visible:false,sort:45,index:0,set_id:16058988,page_options:{using_local_css:true,local_css:local-style\16177580\ .container_width {\n\twidth: 26% \/*!variable_defaults*\/;\n}\n\nlocal-style\16177580\ body {\n\tbackground-color: initial \/*!variable_defaults*\/;\n}\n\nlocal-style\16177580\ .backdrop {\n\twidth: 100% \/*!background_cover*\/;\n}\n\nlocal-style\16177580\ .page {\n\tmin-height: auto \/*!page_height_default*\/;\n}\n\nlocal-style\16177580\ .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\nlocal-style\16177580\ .content_padding {\n\tpadding-top: 1rem \/*!main_margin*\/;\n\tpadding-bottom: 1rem \/*!main_margin*\/;\n\tpadding-left: 1rem 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Most of the photographs were made in Kyiv and the surrounding area which...,content:br>br>br>\nb>KYIV, IN PIECES\/b>br>\nbr>\n\n\n\n\n\n\nThis is a rough edit of work currently in progress in Ukraine. Most of the photographs were made in Kyiv and the surrounding area which was occupied by Russian forces. I have been focusing on the citizens who enlisted in the military at the outset of the invasion, the swath of descruction left by Russian invaders, and the volunteer groups who have begun the process of repairing the damage. I plan to continue pulling on these threads for the next couple of weeks.br>br>\nA selection of the images were also made in Yahidne, a small village on the outskirts of Chernihiv, where all the residents were brutally held captive in the basement of the local kindergarten for over a month.br>\nbr>br>\nbr>\nbr>,content_no_html:\nKYIV, IN PIECES\n\n\n\n\n\n\n\nThis is a rough edit of work currently in progress in Ukraine. 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375},name:22SP_03716.jpg,hash:c4df07c239e05984c0cfb0ae098b538ae13cb9e138b9080f9c6e8ac48a874209,width:1600,height:1200,sort:0,exclude_from_backdrop:false,date_added:1652690990},{id:142708868,project_id:25843901,image_ref:{image 376},name:22SP_00972.jpg,hash:650df2bdd7113b01f86ce395e5d9e371a7394db543f68fc532aef29b391f88b0,width:1600,height:1200,sort:0,exclude_from_backdrop:false,date_added:1652690990},{id:142708869,project_id:25843901,image_ref:{image 377},name:22SP_03716.jpg,hash:88cee7a03fda701692815e5586544ae03cb8107884c126da6a87cb3365e388e9,width:1600,height:1200,sort:0,exclude_from_backdrop:false,date_added:1652690990},{id:142708870,project_id:25843901,image_ref:{image 378},name:22SP_03716.jpg,hash:8469ec771b95f80736459dc83b04bc5b3b94c7297f932bcb442448c8bc7291e2,width:1600,height:1200,sort:0,exclude_from_backdrop:false,date_added:1652690990},{id:142708871,project_id:25843901,image_ref:{image 379},name:22SP_04209.jpg,hash:7708e136719d13330fdd796c420181c5f06cfe7a431b1f1a378c096db992ebb7,width:1600,height:1200,sort:0,exclude_from_backdrop:false,date_added:1652690990},{id:142708872,project_id:25843901,image_ref:{image 380},name:22SP_00972.jpg,hash:86aff3d0119669fca35d7bfbf0013ad27c1cc5db3791ca6892f76c90b40f1712,width:1600,height:1200,sort:0,exclude_from_backdrop:false,date_added:1652690991},backdrop:null},{id:25843913,site_id:868680,project_url:KyivInPieces-Text-mobile,direct_link:https:\/\/matthewconnors.com\/KyivInPieces-Text-mobile,type:page,title:KyivInPieces Text mobile,title_no_html:KyivInPieces Text mobile,tags:,display:false,pin:true,pin_options:{position:top,overlay:false,accommodate:true,fixed:false,exclude_mobile:false,exclude_desktop:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:KYIV, IN PIECES\n\n\n\n\n\n\n\n\n\nThis is a rough edit of work currently in progress in Ukraine. Most of the photographs were made in Kyiv and the surrounding area which...,content:br>\nb>KYIV, IN PIECES\/b>br>\nbr>\n\n\n\n\n\n\nThis is a rough edit of work currently in progress in Ukraine. Most of the photographs were made in Kyiv and the surrounding area which was occupied by Russian forces. I have been focusing on the citizens who enlisted in the military at the outset of the invasion, the swath of descruction left by Russian invaders, and the volunteer groups who have begun the process of repairing the damage. I plan to continue pulling on these threads for the next couple of weeks.br>br>\nA selection of the images were also made in Yahidne, a small village on the outskirts of Chernihiv, where all the residents were brutally held captive in the basement of the local kindergarten for over a month.br>\nbr>br>\nbr>\nbr>,content_no_html:\nKYIV, IN PIECES\n\n\n\n\n\n\n\nThis is a rough edit of work currently in progress in Ukraine. Most of the photographs were made in Kyiv and the surrounding area which was occupied by Russian forces. I have been focusing on the citizens who enlisted in the military at the outset of the invasion, the swath of descruction left by Russian invaders, and the volunteer groups who have begun the process of repairing the damage. I plan to continue pulling on these threads for the next couple of weeks.\nA selection of the images were also made in Yahidne, a small village on the outskirts of Chernihiv, where all the residents were brutally held captive in the basement of the local kindergarten for over a month.\n\n\n,content_partial_html:br>\nb>KYIV, IN PIECES\/b>br>\nbr>\n\n\n\n\n\n\nThis is a rough edit of work currently in progress in Ukraine. Most of the photographs were made in Kyiv and the surrounding area which was occupied by Russian forces. I have been focusing on the citizens who enlisted in the military at the outset of the invasion, the swath of descruction left by Russian invaders, and the volunteer groups who have begun the process of repairing the damage. I plan to continue pulling on these threads for the next couple of weeks.br>br>\nA selection of the images were also made in Yahidne, a small village on the outskirts of Chernihiv, where all the residents were brutally held captive in the basement of the local kindergarten for over a month.br>\nbr>br>\nbr>\nbr>,thumb:142708909,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:142708909,project_id:25843913,image_ref:{image 1},name:Fire_In_Cairo_Cover.jpg,hash:1739a1663c77a480d56903c33605a978390babda0813af82177980e51dead79c,width:1680,height:1200,sort:0,exclude_from_backdrop:false,date_added:1652691028},stored:{ratio:71.428571428571,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:false,sort:50,index:0,set_id:25837328,page_options:{using_local_css:true,local_css:local-style\25843913\ .container_width {\n\twidth: 26% \/*!variable_defaults*\/;\n}\n\nlocal-style\25843913\ body {\n\tbackground-color: initial \/*!variable_defaults*\/;\n}\n\nlocal-style\25843913\ .backdrop {\n\twidth: 100% \/*!background_cover*\/;\n}\n\nlocal-style\25843913\ .page {\n}\n\nlocal-style\25843913\ .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\nlocal-style\25843913\ .content_padding {\n\tpadding-top: 1rem \/*!main_margin*\/;\n\tpadding-bottom: 1rem \/*!main_margin*\/;\n\tpadding-left: 1rem \/*!main_margin*\/;\n\tpadding-right: 2.2rem \/*!main_margin*\/;\n}\n\ndata-predefined-style\true\ local-style\25843913\ bodycopy {\n}\n\ndata-predefined-style\true\ local-style\25843913\ bodycopy a {\n}\n\ndata-predefined-style\true\ local-style\25843913\ bodycopy a:hover {\n}\n\ndata-predefined-style\true\ local-style\25843913\ h1 {\n}\n\ndata-predefined-style\true\ local-style\25843913\ h1 a {\n}\n\ndata-predefined-style\true\ local-style\25843913\ h1 a:hover {\n}\n\ndata-predefined-style\true\ local-style\25843913\ h2 {\n}\n\ndata-predefined-style\true\ local-style\25843913\ h2 a {\n}\n\ndata-predefined-style\true\ local-style\25843913\ h2 a:hover {\n}\n\ndata-predefined-style\true\ local-style\25843913\ small {\n}\n\ndata-predefined-style\true\ local-style\25843913\ small a {\n}\n\ndata-predefined-style\true\ local-style\25843913\ small a:hover {\n}\n\nlocal-style\25843913\ .container {\n\tmargin-right: 0 \/*!content_right*\/;\n},local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:true,page_container_bgcolor:,show_local_thumbs:false,page_bgcolor:,content_position:right_cover,content_width:26,main_margin:1,main_margin_top:1,main_margin_right:2.2,main_margin_bottom:1,main_margin_left:1},pin_options:{position:top,overlay:false,accommodate:true,fixed:false,exclude_mobile:false,exclude_desktop:true}},set_open:false,images:{id:142708909,project_id:25843913,image_ref:{image 1},name:Fire_In_Cairo_Cover.jpg,hash:1739a1663c77a480d56903c33605a978390babda0813af82177980e51dead79c,width:1680,height:1200,sort:0,exclude_from_backdrop:false,date_added:1652691028},backdrop:null}}},{id:16058840,title:Books,project_url:Books,set_id:0,is_homepage:false,pin:false,is_set:true,in_nav:false,stack:true,sort:51,index:2,page_count:6,pin_position:null,thumbnail_options:null,pages:},{id:15440672,title:Info,project_url:Info,set_id:0,is_homepage:false,pin:false,is_set:true,in_nav:true,stack:false,sort:58,index:3,page_count:0,pin_position:null,thumbnail_options:null,pages:{id:15440674,site_id:868680,project_url:Info-Left,direct_link:https:\/\/matthewconnors.com\/Info-Left,type:page,title:Info Left,title_no_html:Info Left,tags:,display:false,pin:true,pin_options:{position:top,overlay:true,fixed:true,accommodate:true,exclude_mobile:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:BIOMatthew Connors is an artist whose commitment to the medium of photography has been propelled by the revelatory potential of the public sphere. Rooted in...,content:br>br>\nbr>\nh2>b>BIO\/b>\/h2>hr>Matthew Connors is an artist whose commitment to the medium of photography has been propelled by the revelatory potential of the public sphere. Rooted in specific currents of history, his bodies of work create a new visual encyclopedia of forms, portraits, symbols, and residues that emerge from protest movements, war, and oppressive systems of governance. His lyrical yet methodical approach resonates with political documentary and street photography, but continually challenges and transforms these categories. br>\n\nbr>\nHis photographs have been exhibited in museums and galleries worldwide, including the Museum of Modern Art in New York and DOX Centre for Contemporary Art in Prague. His first monograph i>Fire in Cairo\/i> (SPBH Editions, 2015)i> \/i>was awarded the ICP Infinity Award for best artist book in 2016. He has also been awarded the Abigail Cohen Rome Prize, a Headlands Center for the Arts Residency, two MacDowell Colony Fellowships, the Lightwork Artist-in-Residence Fellowship, and the Virginia Center for Creative Arts Fellowship. br>\n\nbr>\nConnors earned a BA in English Literature from the University of Chicago and a MFA in Photography from Yale University. He has taught in the Image Text Ithaca MFA Program, the Yale University MFA Program, and in the Photography Department at the Massachusetts College of Art & Design where he has been a professor since 2004. br>\nbr>small>a href\mailto:info@matthewconnors.com\ class\icon-link\>\ue000\ufe0e\/a>\/small>small> a href\http:\/\/www.instagram.com\/matthewconnors_\/?\ target\_blank\ class\icon-link\>\ue025\ufe0e\/a> \/small>\nbr>br>\nbr>\nh2>b>SELECTED WRITING\/b>br>\/h2>hr>\nb>a href\https:\/\/aperture.org\/books\/object-lesson-on-the-influence-of-richard-benson\/\ target\_blank\>Object Lesson: On the Influence of Richard Benson\/a>\/b>br>\nAperture, 2022br>br>\nb>a href\https:\/\/aperture.org\/new-and-noteworthy\/photowork-forty-photographers-on-process-and-practice\/\ target\_blank\>PhotoWork: Forty Photographers on Process and Practice\/a>\/b>br>One of forty contributions to this book edited by Sasha Wolf. Aperture, 2019br>br>b>a href\Jeff\ rel\history\>100 Words or Less about Jeff\/a>\/b>br>\ni>photograph\/i> magazine br>\nbr>\nb>a href\MyBlankPages\ rel\history\>Review of Michael Schmelling\u2019s My Blank Pages \/a>\/b>br>\ni>photo-eye\/i> (Mar, 2016)br>br>\nb>a href\https:\/\/aperture.org\/books\/educational\/the-photographers-playbook\/\ target\_blank\>The Photographer\u2019s Playbook\/a> \/b>br>A small contribution to this book of assignments edited by Jason Fulford & Gregory Halpern, Aperture, 2014br>br>b>a href\Berber-Uprising\ rel\history\>The Berber Uprising\/a>\/b>br> A short story included in i>Fire in Cairo\/i>, SPBH Editions, 2015br>br>\na href\Teignmouth-Electron\ rel\history\>b>Review of Tacita Dean\u2019s Teignmouth Electron\/b>\n\/a>br>\ni>The Highlights\/i> (Mar, 2008)br>,content_no_html:\n\nBIOMatthew Connors is an artist whose commitment to the medium of photography has been propelled by the revelatory potential of the public sphere. Rooted in specific currents of history, his bodies of work create a new visual encyclopedia of forms, portraits, symbols, and residues that emerge from protest movements, war, and oppressive systems of governance. His lyrical yet methodical approach resonates with political documentary and street photography, but continually challenges and transforms these categories. \n\n\nHis photographs have been exhibited in museums and galleries worldwide, including the Museum of Modern Art in New York and DOX Centre for Contemporary Art in Prague. His first monograph Fire in Cairo (SPBH Editions, 2015) was awarded the ICP Infinity Award for best artist book in 2016. He has also been awarded the Abigail Cohen Rome Prize, a Headlands Center for the Arts Residency, two MacDowell Colony Fellowships, the Lightwork Artist-in-Residence Fellowship, and the Virginia Center for Creative Arts Fellowship. \n\n\nConnors earned a BA in English Literature from the University of Chicago and a MFA in Photography from Yale University. He has taught in the Image Text Ithaca MFA Program, the Yale University MFA Program, and in the Photography Department at the Massachusetts College of Art & Design where he has been a professor since 2004. \n\ue000\ufe0e \ue025\ufe0e \n\n\nSELECTED WRITING\nObject Lesson: On the Influence of Richard Benson\nAperture, 2022\nPhotoWork: Forty Photographers on Process and PracticeOne of forty contributions to this book edited by Sasha Wolf. Aperture, 2019100 Words or Less about Jeff\nphotograph magazine \n\nReview of Michael Schmelling\u2019s My Blank Pages \nphoto-eye (Mar, 2016)\nThe Photographer\u2019s Playbook A small contribution to this book of assignments edited by Jason Fulford & Gregory Halpern, Aperture, 2014The Berber Uprising A short story included in Fire in Cairo, SPBH Editions, 2015\nReview of Tacita Dean\u2019s Teignmouth Electron\n\nThe Highlights (Mar, 2008),content_partial_html:br>br>\nbr>\nh2>b>BIO\/b>\/h2>hr>Matthew Connors is an artist whose commitment to the medium of photography has been propelled by the revelatory potential of the public sphere. Rooted in specific currents of history, his bodies of work create a new visual encyclopedia of forms, portraits, symbols, and residues that emerge from protest movements, war, and oppressive systems of governance. His lyrical yet methodical approach resonates with political documentary and street photography, but continually challenges and transforms these categories. br>\n\nbr>\nHis photographs have been exhibited in museums and galleries worldwide, including the Museum of Modern Art in New York and DOX Centre for Contemporary Art in Prague. His first monograph i>Fire in Cairo\/i> (SPBH Editions, 2015)i> \/i>was awarded the ICP Infinity Award for best artist book in 2016. He has also been awarded the Abigail Cohen Rome Prize, a Headlands Center for the Arts Residency, two MacDowell Colony Fellowships, the Lightwork Artist-in-Residence Fellowship, and the Virginia Center for Creative Arts Fellowship. br>\n\nbr>\nConnors earned a BA in English Literature from the University of Chicago and a MFA in Photography from Yale University. He has taught in the Image Text Ithaca MFA Program, the Yale University MFA Program, and in the Photography Department at the Massachusetts College of Art & Design where he has been a professor since 2004. br>\nbr>a href\mailto:info@matthewconnors.com\ class\icon-link\>\ue000\ufe0e\/a> a href\http:\/\/www.instagram.com\/matthewconnors_\/?\ target\_blank\ class\icon-link\>\ue025\ufe0e\/a> \nbr>br>\nbr>\nh2>b>SELECTED WRITING\/b>br>\/h2>hr>\nb>a href\https:\/\/aperture.org\/books\/object-lesson-on-the-influence-of-richard-benson\/\ target\_blank\>Object Lesson: On the Influence of Richard Benson\/a>\/b>br>\nAperture, 2022br>br>\nb>a href\https:\/\/aperture.org\/new-and-noteworthy\/photowork-forty-photographers-on-process-and-practice\/\ target\_blank\>PhotoWork: Forty Photographers on Process and Practice\/a>\/b>br>One of forty contributions to this book edited by Sasha Wolf. Aperture, 2019br>br>b>a href\Jeff\ rel\history\>100 Words or Less about Jeff\/a>\/b>br>\ni>photograph\/i> magazine br>\nbr>\nb>a href\MyBlankPages\ rel\history\>Review of Michael Schmelling\u2019s My Blank Pages \/a>\/b>br>\ni>photo-eye\/i> (Mar, 2016)br>br>\nb>a href\https:\/\/aperture.org\/books\/educational\/the-photographers-playbook\/\ target\_blank\>The Photographer\u2019s Playbook\/a> \/b>br>A small contribution to this book of assignments edited by Jason Fulford & Gregory Halpern, Aperture, 2014br>br>b>a href\Berber-Uprising\ rel\history\>The Berber Uprising\/a>\/b>br> A short story included in i>Fire in Cairo\/i>, SPBH Editions, 2015br>br>\na href\Teignmouth-Electron\ rel\history\>b>Review of Tacita Dean\u2019s Teignmouth Electron\/b>\n\/a>br>\ni>The Highlights\/i> (Mar, 2008)br>,thumb:,thumb_meta:null,thumb_is_visible:false,sort:59,index:0,set_id:15440672,page_options:{using_local_css:true,local_css:local-style\15440674\ .container_width {\n}\n\nlocal-style\15440674\ body {\n\tbackground-color: initial \/*!variable_defaults*\/;\n}\n\nlocal-style\15440674\ .backdrop {\n\twidth: 100% \/*!background_cover*\/;\n}\n\nlocal-style\15440674\ .page {\n\tmin-height: auto \/*!page_height_default*\/;\n}\n\nlocal-style\15440674\ .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\nlocal-style\15440674\ .content_padding {\n}\n\ndata-predefined-style\true\ local-style\15440674\ bodycopy {\n}\n\ndata-predefined-style\true\ local-style\15440674\ bodycopy a {\n}\n\ndata-predefined-style\true\ local-style\15440674\ bodycopy a:hover {\n}\n\ndata-predefined-style\true\ local-style\15440674\ h1 {\n}\n\ndata-predefined-style\true\ local-style\15440674\ h1 a {\n}\n\ndata-predefined-style\true\ local-style\15440674\ h1 a:hover {\n}\n\ndata-predefined-style\true\ local-style\15440674\ h2 {\n}\n\ndata-predefined-style\true\ local-style\15440674\ h2 a {\n}\n\ndata-predefined-style\true\ local-style\15440674\ h2 a:hover {\n}\n\ndata-predefined-style\true\ local-style\15440674\ small {\n}\n\ndata-predefined-style\true\ local-style\15440674\ small a {\n}\n\ndata-predefined-style\true\ local-style\15440674\ small a:hover {\n}\n\nlocal-style\15440674\ .container {\n\tmargin-left: 0 \/*!content_left*\/;\n\talign-items: flex-start \/*!vertical_top*\/;\n\t-webkit-align-items: flex-start \/*!vertical_top*\/;\n},local_layout_options:{split_layout:false,split_responsive:false,content_position:left_cover,content_width:33,full_height:false,advanced_padding_enabled:false,page_container_bgcolor:,show_local_thumbs:false,page_bgcolor:,main_margin:1.5,main_margin_top:1.5,main_margin_right:1.5,main_margin_bottom:1.5,main_margin_left:1.5},pin_options:{position:top,overlay:true,fixed:true,accommodate:true,exclude_mobile:true}},set_open:false,images:,backdrop:null},{id:15441513,site_id:868680,project_url:Info-Center,direct_link:https:\/\/matthewconnors.com\/Info-Center,type:page,title:Info Center,title_no_html:Info Center,tags:,display:false,pin:true,pin_options:{position:top,overlay:true,fixed:true,accommodate:true,exclude_mobile:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:NEWSThe Axe Will Survive the Master \n\nSolo exhibition \n\nMar 22 - May 02, 2023\n\nBarnes Ogden Center, LSU \n\nBaton Rouge, LA\n\n\n\n\n\nHeadlands Center for the...,content:br>br>\nbr>\nh2>b>NEWS\/b>\/h2>hr>b>The Axe Will Survive the Master \/b>br>\nSolo exhibition br>\nMar 22 - May 02, 2023br>\nBarnes Ogden Center, LSU br>\nBaton Rouge, LAbr>\nbr>\nimg width\600\ height\929\ width_o\600\ height_o\929\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/71efa6243f17cedc9a564d96c837f5c7ac929892ff245d002875b3a107987939\/axe.jpg\ data-mid\209248369\ border\0\ data-no-zoom\/>br>\nb>a href\https:\/\/www.headlands.org\/artist\/matthew-connors\/\ target\_blank\>Headlands Center for the Arts\/a>\/b>br>Artist in Residence br>\nSummer 2022br>br>b>a href\https:\/\/artpapereditions.org\/products\/urtzi-grau-guillermo-fernandez-abascal-folk-costumes-indo-pacific-air\ target\_blank\>Folk Costumes, Indo-Pacific Air\/a>\/b>br>Group Publicationbr>\ned. Urtzi Grau & Guillermo Fern\u00e1ndez-Abascalbr>\nMay 2022br>\nbr>\na href\https:\/\/artpapereditions.org\/products\/urtzi-grau-guillermo-fernandez-abascal-folk-costumes-indo-pacific-air\ target\_blank\ class\image-link\>img width\600\ height\831\ width_o\600\ height_o\831\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/026fc9b9800aff1f481fbc8c9d1c0f5ad64c8e064b1afa1204bd9eb05a11c7c9\/Untitled-1.jpg\ data-mid\209248308\ border\0\ data-no-zoom\/>\/a>br>\nb>MassArt Faculty Fellowship \/b>br>2021 Recipientbr>\nbr>\nb>a href\https:\/\/tiltinstitute.org\/event\/object-lesson-the-legacy-of-richard-benson\/\ target\_blank\>Object Lesson \/a>\/b>br>Sep 21, 2021 - Jan 08, 2022br>\nGroup Exhibition at TILT Institutebr>Philadelphia, PAbr>br>\nb>a href\https:\/\/statesofchange.us\/products\/matthew-connors\ target\_blank\>States of Change\/a>\/b>br>\nPrint sale benefit to fight voter suppression in AZ, FL, MI, PA & WIbr>br>\nb>a href\https:\/\/www.lightwork.org\/product\/contact-sheet-208-matthew-connors\/\ target\_blank\>Contact Sheet 208: Matthew Connors\/a>\/b>\nbr>\nGeneral Assembly Exhibition Catalogue\nbr>\nbr>div style\text-align: center\>a href\https:\/\/www.lightwork.org\/product\/contact-sheet-208-matthew-connors\/\ target\_blank\ class\image-link\>img width\900\ height\1200\ width_o\900\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/931f3555d3d27905e6d58abd129fa39fa3af91dcecb432f6141b5bafbec3b316\/ContactSheet208.jpg\ data-mid\87236472\ border\0\ data-no-zoom\/>\/a>br>\/div>\nbr>\nb>a href\https:\/\/www.lightwork.org\/archive\/matthew-connorsly-general-assembly\/\ target\_blank\>General Assembly\/a>\/b>br>\nSolo Exhibitionbr>Aug 24 to Oct 15, 2020br>Kathleen O. Ellis Gallery\nLight Work, Syracuse, NY\nbr>\nbr>\nb>a href\https:\/\/brooklynrail.org\/2020\/07\/books\/Partial-Reveals-Inclusive-Revelations-in-the-Post-Truth-Simulacracy\ target\_blank\>Partial Reveals & Inclusive Revelations in the Post-Truth Simulacracy: i>The Poetics\/i>\/a>\/b>br>\nChris Campanioni, i>The Brooklyn Rail \/i>(Jul-Aug, 2020)br>br>b>a href\https:\/\/www.liberation.fr\/photographie\/2020\/08\/25\/au-caire-de-la-revolte_1797268\ target\_blank\>Au Caire de la R\u00e9volte\/a>\/b> br>Alessandro Zuffi, i>Lib\u00e9ration \u00c9T\u00c9\/i> (Aug 25, 2020)br>br>\nb>a href\https:\/\/thetimeisnowfundraiser.com\/artists\/126-matthew-connors\/works\/\ target\_blank\>The Time is Now\/a>\/b>br>\nAnti-racism fundraiser organized by Galerie Number 8 and Paper Journalbr>br>b>a href\https:\/\/www.photographsforpurpose.com\/about\ target\_blank\>Photographs for Purpose\/a>\/b>br>\nPrint sale to benefit Equal Justice Initiative, Coalition of Immokalee Workers, Southerners on New Ground, and Planned Parenthoodbr>\nbr>b>a href\https:\/\/yesfuture.etudes-studio.com\/product\/matthew-connors\ target\_blank\>YES FUTURE\/a>\/b>br>\n\u00c9tudes print sale for Covid-19 reliefbr>\nbr>\ndiv style\text-align: center\>a href\https:\/\/yesfuture.etudes-studio.com\/product\/matthew-connors\ target\_blank\ class\image-link\>img width\1080\ height\1350\ width_o\1080\ height_o\1350\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/c2c7d4228235c47b185f39940424b253e380451ad7ff75c86ce6225916f8f920\/YES-FUTURE_IG_FEED_76.jpg\ data-mid\87306943\ border\0\ data-no-zoom\/>\/a>br>\/div>\nbr>\nb>a href\http:\/\/www.headlands.org\/artist\/matthew-connors\/\ target\_blank\>Headlands Center for the Arts\/a>\/b>\nbr>\n2020 Residency Recipient\nbr>\nbr>\nb>a href\https:\/\/www.wgbh.org\/news\/arts\/2020\/01\/30\/local-photographer-reflects-on-hong-kong\ target\_blank\>Local Photographer Reflects on Hong Kong\/a>br>\/b>TV interview with Liz Neisloss, \ni>WGBH Greater Boston\/i> (aired Jan 30, 2020)br>br>b>a href\https:\/\/www.scmp.com\/news\/hong-kong\/politics\/article\/3044660\/american-photographer-who-covered-hong-kong-protests-denied\ target\_blank\>American Photographer Who Covered Hong Kong Protests Denied Entry into City\/a>\/b>br>\n Alvin Lum, i>South China Morning Post \/i>(Jan 4, 2020)br>br>\nb>a href\https:\/\/story.californiasunday.com\/hong-kong-protests-photos\ target\_blank\>Tear Gas on One Street and Civilians Walking on Another\/a>\/b> br>\nFeature with Karen Cheung and Lau Chi Chung in i>The California Sunday Magazine\/i> (Dec 1, 2019)br>\nbr>\ndiv style\text-align: center\>b>a href\https:\/\/story.californiasunday.com\/hong-kong-protests-photos\ target\_blank\ class\image-link\>img width\1080\ height\1350\ width_o\1080\ height_o\1350\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/d386c7e2f49f07aac72fdf2e6e676d0a8ba4af115b3a023ccb9e193ba8ff35d0\/Untitled-1.jpg\ data-mid\85064049\ border\0\ data-no-zoom\/>\/a>\/b>\/div>br>\nb>a href\https:\/\/www.thehumid.com\/the-workshop\ target\_blank\>Letters to the Editor\/a>\/b>br>\nWorkshop with Matthew Connors and Curran Hatlebergbr>\nNov 15-17, 2019br>\nThe Humid, Athens, GAbr>br>\nb>Family Car Poetics\/b>br>\nOyster Shucking and Book Signing\nbr>\nwith Matthew Connors & Gus Powell\nbr>\nSunday, Nov 10, 2019. 12pm - 3pmbr>\n Galerie Ghezelbashbr>12 Rue Jacob, Paris\nbr>\nbr>\ndiv style\text-align: center\>img width\450\ height\582\ width_o\450\ height_o\582\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/a63f9305a161ae7b191a330177738a6814fc7240b67c9f010375b63220c7e609\/FamilyCarPoetics_Flyer_v4.jpg\ data-mid\87107713\ border\0\ data-no-zoom\/>br>\/div>\nbr>b>a href\https:\/\/nyabf2019.printedmatterartbookfairs.org\/Saturday-21\ target\_blank\>The Poetics Reading at the New York Art Book Fair\/a>br>\/b>with Lucy Ives\nSaturday, Sep 21, 2019. 3pm\nNYABF Classroom, MoMA PS1br>br>\nb>a href\https:\/\/imagetextithaca.com\/collections\/frontpage\/products\/the-poetics\ target\_blank\>The Poetics Book Launch\/a>\/b>\nbr>\nNew York Art Book Fair 2019\nbr>\nImage Text Ithaca\nTable X08 in Focus: Photography\nbr>\nbr>\ndiv style\text-align: center\>\/div>\ndiv style\text-align: center\>a href\https:\/\/imagetextithaca.com\/collections\/frontpage\/products\/the-poetics\ target\_blank\ class\image-link\>img width\960\ height\1200\ width_o\960\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/9011328f28ecbd21929a06254b5a28833bf03c584d1a23b46547861c6f0b2e3f\/ThePoetics2.jpg\ data-mid\85124194\ border\0\ data-no-zoom\/>\/a>\/div>\nbr>\nb>a href\http:\/\/www.romannvmerals.com\/books\/NVII.html\ target\_blank\>Wake Book Launch\/a>\/b>\nbr>\nNew York Art Book Fair 2019\nROMAN NVMERALS\nTable O05 in Focus: Photography\nbr>\nbr>\nb>a href\https:\/\/aperture.org\/new-and-noteworthy\/photowork-forty-photographers-on-process-and-practice\/\ target\_blank\>PhotoWork: Forty Photographers on Process and Practice\/a>\/b>br>\ned. Sasha Wolf, Aperture\nbr>\nbr>div style\text-align: center\>a href\https:\/\/aperture.org\/new-and-noteworthy\/photowork-forty-photographers-on-process-and-practice\/\ target\_blank\ class\image-link\>img width\668\ height\503\ width_o\668\ height_o\503\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/f12285acb262ef5245038a067e31f9e7b2209465d5d416159cd7f183c2402ffc\/photowork2.jpg\ data-mid\85172067\ border\0\ data-no-zoom\/>\/a>br>\/div>\n\nbr>\nb>a href\http:\/\/www.samepaper.com\/Issue-02-NEW\ target\_blank\>The Present Age\/a>\/b>\nbr>\nFeature in Closing Ceremony Magazine Issue 02br>br>\nb>a href\https:\/\/www.macdowell.org\/news\/86-artists-awarded-spring-mac-dowell-fellowships\ target\_blank\>MacDowell Colony Fellowship\/a>\/b>br>\nRecipient of a 2019 MacDowell Colony Fellowship\nbr>\nbr>\nb>a href\https:\/\/www.printedmatter.org\/programs\/events\/759\ target\_blank\>Reading and Discussion of The Poetics\/a>\/b>br>\nwith Lucy Ives\nbr>\nFriday, Nov 30, 2018. 6pm-8pm\nbr>\nPrinted Matter, NYCbr>br>\nb>a href\https:\/\/paper-journal.com\/shop\/paper-journal-01\/\ target\_blank\>A Hidden Revolution: Inside North Korea\/a>\/b>\nbr>Interview with Giada De Agostinis in Paper Journal (Jun 2018)br>\nbr>\n\n\n\ndiv style\text-align: center\>a href\https:\/\/paper-journal.com\/shop\/paper-journal-01\/\ target\_blank\ class\image-link\>img width\566\ height\755\ width_o\566\ height_o\755\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/2994c5ebb78fd01294f2589274cb917dcc5d13778ba633b265595f3f354bb4d0\/tumblr_p6f47tmUdT1tofoizo1_640.png\ data-mid\85128590\ border\0\ data-no-zoom\/>\/a>br>\/div>\n\n\n\nbr>b>a href\https:\/\/www.wsj.com\/articles\/momas-human-focus-1521064112\ target\_blank\>MoMA\u2019s Human Focus\/a>\/b>\nbr>\nRichard Woodward, i>The Wall Street Journal\/i> (Mar 15, 2018)br>\nbr>\nb>a href\https:\/\/www.nytimes.com\/2018\/03\/09\/arts\/design\/museum-of-modern-art-being-new-photography.html\ target\_blank\>What\u2019s New in Photography? Humanism, MoMA Says\/a>\/b>br>Arthur Lubow, i>The New York Times \/i>(Mar 11, 2018)br>br>\n\n\n\n\nb>a href\https:\/\/www.moma.org\/calendar\/exhibitions\/3886\ target\_blank\>Being: New Photography 2018\/a>\/b>br>\nGroup Exhibition br>\ncurated by Lucy Gallunbr>\nMuseum of Modern Art, New Yorkbr>\nMar 18 - Aug 19, 2018br>\nbr>\n\ndiv style\text-align: center\>a href\https:\/\/www.moma.org\/calendar\/exhibitions\/3886\ target\_blank\ class\image-link\>img width\880\ height\1200\ width_o\880\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/935d066d61ead66bf58589e3e0aa515101a98f642398aeb3ab3dbdac9143339d\/18SP_00005.jpg\ data-mid\85163362\ border\0\ data-no-zoom\/>\/a>br>\/div>\nbr>\nb>a href\https:\/\/www.artbook.com\/9780990698012.html\ target\_blank\>OSMOS Magazine\/a>\/b>br>\nFeature of Unanimous Desires in OSMOS Magazine: Issue 14 (Apr, 2018)br>br>b>a href\https:\/\/paper-journal.com\/studio-visit-matthew-connors\/\ target\_blank\>Studio Visit \u2013 Matthew Connors\/a>\/b>br>Interview with Giada De Agostinis, i>Paper Journal\/i> (May 2, 2017)\nbr>br>\n\nbr>,content_no_html:\n\nNEWSThe Axe Will Survive the Master \nSolo exhibition \nMar 22 - May 02, 2023\nBarnes Ogden Center, LSU \nBaton Rouge, LA\n\n{image 22 no-zoom}\nHeadlands Center for the ArtsArtist in Residence \nSummer 2022Folk Costumes, Indo-Pacific AirGroup Publication\ned. Urtzi Grau & Guillermo Fern\u00e1ndez-Abascal\nMay 2022\n\n{image 21 no-zoom}\nMassArt Faculty Fellowship 2021 Recipient\n\nObject Lesson Sep 21, 2021 - Jan 08, 2022\nGroup Exhibition at TILT InstitutePhiladelphia, PA\nStates of Change\nPrint sale benefit to fight voter suppression in AZ, FL, MI, PA & WI\nContact Sheet 208: Matthew Connors\n\nGeneral Assembly Exhibition Catalogue\n\n{image 16 no-zoom}\n\nGeneral Assembly\nSolo ExhibitionAug 24 to Oct 15, 2020Kathleen O. Ellis Gallery\nLight Work, Syracuse, NY\n\n\nPartial Reveals & Inclusive Revelations in the Post-Truth Simulacracy: The Poetics\nChris Campanioni, The Brooklyn Rail (Jul-Aug, 2020)Au Caire de la R\u00e9volte Alessandro Zuffi, Lib\u00e9ration \u00c9T\u00c9 (Aug 25, 2020)\nThe Time is Now\nAnti-racism fundraiser organized by Galerie Number 8 and Paper JournalPhotographs for Purpose\nPrint sale to benefit Equal Justice Initiative, Coalition of Immokalee Workers, Southerners on New Ground, and Planned Parenthood\nYES FUTURE\n\u00c9tudes print sale for Covid-19 relief\n\n{image 18 no-zoom}\n\nHeadlands Center for the Arts\n\n2020 Residency Recipient\n\n\nLocal Photographer Reflects on Hong KongTV interview with Liz Neisloss, \nWGBH Greater Boston (aired Jan 30, 2020)American Photographer Who Covered Hong Kong Protests Denied Entry into City\n Alvin Lum, South China Morning Post (Jan 4, 2020)\nTear Gas on One Street and Civilians Walking on Another \nFeature with Karen Cheung and Lau Chi Chung in The California Sunday Magazine (Dec 1, 2019)\n\n{image 4 no-zoom}\nLetters to the Editor\nWorkshop with Matthew Connors and Curran Hatleberg\nNov 15-17, 2019\nThe Humid, Athens, GA\nFamily Car Poetics\nOyster Shucking and Book Signing\n\nwith Matthew Connors & Gus Powell\n\nSunday, Nov 10, 2019. 12pm - 3pm\n Galerie Ghezelbash12 Rue Jacob, Paris\n\n\n{image 15 no-zoom}\nThe Poetics Reading at the New York Art Book Fairwith Lucy Ives\nSaturday, Sep 21, 2019. 3pm\nNYABF Classroom, MoMA PS1\nThe Poetics Book Launch\n\nNew York Art Book Fair 2019\n\nImage Text Ithaca\nTable X08 in Focus: Photography\n\n\n\n{image 7 no-zoom}\n\nWake Book Launch\n\nNew York Art Book Fair 2019\nROMAN NVMERALS\nTable O05 in Focus: Photography\n\n\nPhotoWork: Forty Photographers on Process and Practice\ned. Sasha Wolf, Aperture\n\n{image 14 no-zoom}\n\n\nThe Present Age\n\nFeature in Closing Ceremony Magazine Issue 02\nMacDowell Colony Fellowship\nRecipient of a 2019 MacDowell Colony Fellowship\n\n\nReading and Discussion of The Poetics\nwith Lucy Ives\n\nFriday, Nov 30, 2018. 6pm-8pm\n\nPrinted Matter, NYC\nA Hidden Revolution: Inside North Korea\nInterview with Giada De Agostinis in Paper Journal (Jun 2018)\n\n\n\n\n{image 8 no-zoom}\n\n\n\nMoMA\u2019s Human Focus\n\nRichard Woodward, The Wall Street Journal (Mar 15, 2018)\n\nWhat\u2019s New in Photography? Humanism, MoMA SaysArthur Lubow, The New York Times (Mar 11, 2018)\n\n\n\n\nBeing: New Photography 2018\nGroup Exhibition \ncurated by Lucy Gallun\nMuseum of Modern Art, New York\nMar 18 - Aug 19, 2018\n\n\n{image 12 no-zoom}\n\nOSMOS Magazine\nFeature of Unanimous Desires in OSMOS Magazine: Issue 14 (Apr, 2018)Studio Visit \u2013 Matthew ConnorsInterview with Giada De Agostinis, Paper Journal (May 2, 2017)\n\n\n,content_partial_html:br>br>\nbr>\nh2>b>NEWS\/b>\/h2>hr>b>The Axe Will Survive the Master \/b>br>\nSolo exhibition br>\nMar 22 - May 02, 2023br>\nBarnes Ogden Center, LSU br>\nBaton Rouge, LAbr>\nbr>\nimg width\600\ height\929\ width_o\600\ height_o\929\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/71efa6243f17cedc9a564d96c837f5c7ac929892ff245d002875b3a107987939\/axe.jpg\ data-mid\209248369\ border\0\ data-no-zoom\/>br>\nb>a href\https:\/\/www.headlands.org\/artist\/matthew-connors\/\ target\_blank\>Headlands Center for the Arts\/a>\/b>br>Artist in Residence br>\nSummer 2022br>br>b>a href\https:\/\/artpapereditions.org\/products\/urtzi-grau-guillermo-fernandez-abascal-folk-costumes-indo-pacific-air\ target\_blank\>Folk Costumes, Indo-Pacific Air\/a>\/b>br>Group Publicationbr>\ned. Urtzi Grau & Guillermo Fern\u00e1ndez-Abascalbr>\nMay 2022br>\nbr>\na href\https:\/\/artpapereditions.org\/products\/urtzi-grau-guillermo-fernandez-abascal-folk-costumes-indo-pacific-air\ target\_blank\ class\image-link\>img width\600\ height\831\ width_o\600\ height_o\831\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/026fc9b9800aff1f481fbc8c9d1c0f5ad64c8e064b1afa1204bd9eb05a11c7c9\/Untitled-1.jpg\ data-mid\209248308\ border\0\ data-no-zoom\/>\/a>br>\nb>MassArt Faculty Fellowship \/b>br>2021 Recipientbr>\nbr>\nb>a href\https:\/\/tiltinstitute.org\/event\/object-lesson-the-legacy-of-richard-benson\/\ target\_blank\>Object Lesson \/a>\/b>br>Sep 21, 2021 - Jan 08, 2022br>\nGroup Exhibition at TILT Institutebr>Philadelphia, PAbr>br>\nb>a href\https:\/\/statesofchange.us\/products\/matthew-connors\ target\_blank\>States of Change\/a>\/b>br>\nPrint sale benefit to fight voter suppression in AZ, FL, MI, PA & WIbr>br>\nb>a href\https:\/\/www.lightwork.org\/product\/contact-sheet-208-matthew-connors\/\ target\_blank\>Contact Sheet 208: Matthew Connors\/a>\/b>\nbr>\nGeneral Assembly Exhibition Catalogue\nbr>\nbr>a href\https:\/\/www.lightwork.org\/product\/contact-sheet-208-matthew-connors\/\ target\_blank\ class\image-link\>img width\900\ height\1200\ width_o\900\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/931f3555d3d27905e6d58abd129fa39fa3af91dcecb432f6141b5bafbec3b316\/ContactSheet208.jpg\ data-mid\87236472\ border\0\ data-no-zoom\/>\/a>br>\nbr>\nb>a href\https:\/\/www.lightwork.org\/archive\/matthew-connorsly-general-assembly\/\ target\_blank\>General Assembly\/a>\/b>br>\nSolo Exhibitionbr>Aug 24 to Oct 15, 2020br>Kathleen O. Ellis Gallery\nLight Work, Syracuse, NY\nbr>\nbr>\nb>a href\https:\/\/brooklynrail.org\/2020\/07\/books\/Partial-Reveals-Inclusive-Revelations-in-the-Post-Truth-Simulacracy\ target\_blank\>Partial Reveals & Inclusive Revelations in the Post-Truth Simulacracy: i>The Poetics\/i>\/a>\/b>br>\nChris Campanioni, i>The Brooklyn Rail \/i>(Jul-Aug, 2020)br>br>b>a href\https:\/\/www.liberation.fr\/photographie\/2020\/08\/25\/au-caire-de-la-revolte_1797268\ target\_blank\>Au Caire de la R\u00e9volte\/a>\/b> br>Alessandro Zuffi, i>Lib\u00e9ration \u00c9T\u00c9\/i> (Aug 25, 2020)br>br>\nb>a href\https:\/\/thetimeisnowfundraiser.com\/artists\/126-matthew-connors\/works\/\ target\_blank\>The Time is Now\/a>\/b>br>\nAnti-racism fundraiser organized by Galerie Number 8 and Paper Journalbr>br>b>a href\https:\/\/www.photographsforpurpose.com\/about\ target\_blank\>Photographs for Purpose\/a>\/b>br>\nPrint sale to benefit Equal Justice Initiative, Coalition of Immokalee Workers, Southerners on New Ground, and Planned Parenthoodbr>\nbr>b>a href\https:\/\/yesfuture.etudes-studio.com\/product\/matthew-connors\ target\_blank\>YES FUTURE\/a>\/b>br>\n\u00c9tudes print sale for Covid-19 reliefbr>\nbr>\na href\https:\/\/yesfuture.etudes-studio.com\/product\/matthew-connors\ target\_blank\ class\image-link\>img width\1080\ height\1350\ width_o\1080\ height_o\1350\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/c2c7d4228235c47b185f39940424b253e380451ad7ff75c86ce6225916f8f920\/YES-FUTURE_IG_FEED_76.jpg\ data-mid\87306943\ border\0\ data-no-zoom\/>\/a>br>\nbr>\nb>a href\http:\/\/www.headlands.org\/artist\/matthew-connors\/\ target\_blank\>Headlands Center for the Arts\/a>\/b>\nbr>\n2020 Residency Recipient\nbr>\nbr>\nb>a href\https:\/\/www.wgbh.org\/news\/arts\/2020\/01\/30\/local-photographer-reflects-on-hong-kong\ target\_blank\>Local Photographer Reflects on Hong Kong\/a>br>\/b>TV interview with Liz Neisloss, \ni>WGBH Greater Boston\/i> (aired Jan 30, 2020)br>br>b>a href\https:\/\/www.scmp.com\/news\/hong-kong\/politics\/article\/3044660\/american-photographer-who-covered-hong-kong-protests-denied\ target\_blank\>American Photographer Who Covered Hong Kong Protests Denied Entry into City\/a>\/b>br>\n Alvin Lum, i>South China Morning Post \/i>(Jan 4, 2020)br>br>\nb>a href\https:\/\/story.californiasunday.com\/hong-kong-protests-photos\ target\_blank\>Tear Gas on One Street and Civilians Walking on Another\/a>\/b> br>\nFeature with Karen Cheung and Lau Chi Chung in i>The California Sunday Magazine\/i> (Dec 1, 2019)br>\nbr>\nb>a href\https:\/\/story.californiasunday.com\/hong-kong-protests-photos\ target\_blank\ class\image-link\>img width\1080\ height\1350\ width_o\1080\ height_o\1350\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/d386c7e2f49f07aac72fdf2e6e676d0a8ba4af115b3a023ccb9e193ba8ff35d0\/Untitled-1.jpg\ data-mid\85064049\ border\0\ data-no-zoom\/>\/a>\/b>br>\nb>a href\https:\/\/www.thehumid.com\/the-workshop\ target\_blank\>Letters to the Editor\/a>\/b>br>\nWorkshop with Matthew Connors and Curran Hatlebergbr>\nNov 15-17, 2019br>\nThe Humid, Athens, GAbr>br>\nb>Family Car Poetics\/b>br>\nOyster Shucking and Book Signing\nbr>\nwith Matthew Connors & Gus Powell\nbr>\nSunday, Nov 10, 2019. 12pm - 3pmbr>\n Galerie Ghezelbashbr>12 Rue Jacob, Paris\nbr>\nbr>\nimg width\450\ height\582\ width_o\450\ height_o\582\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/a63f9305a161ae7b191a330177738a6814fc7240b67c9f010375b63220c7e609\/FamilyCarPoetics_Flyer_v4.jpg\ data-mid\87107713\ border\0\ data-no-zoom\/>br>\nbr>b>a href\https:\/\/nyabf2019.printedmatterartbookfairs.org\/Saturday-21\ target\_blank\>The Poetics Reading at the New York Art Book Fair\/a>br>\/b>with Lucy Ives\nSaturday, Sep 21, 2019. 3pm\nNYABF Classroom, MoMA PS1br>br>\nb>a href\https:\/\/imagetextithaca.com\/collections\/frontpage\/products\/the-poetics\ target\_blank\>The Poetics Book Launch\/a>\/b>\nbr>\nNew York Art Book Fair 2019\nbr>\nImage Text Ithaca\nTable X08 in Focus: Photography\nbr>\nbr>\n\na href\https:\/\/imagetextithaca.com\/collections\/frontpage\/products\/the-poetics\ target\_blank\ class\image-link\>img width\960\ height\1200\ width_o\960\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/9011328f28ecbd21929a06254b5a28833bf03c584d1a23b46547861c6f0b2e3f\/ThePoetics2.jpg\ data-mid\85124194\ border\0\ data-no-zoom\/>\/a>\nbr>\nb>a href\http:\/\/www.romannvmerals.com\/books\/NVII.html\ target\_blank\>Wake Book Launch\/a>\/b>\nbr>\nNew York Art Book Fair 2019\nROMAN NVMERALS\nTable O05 in Focus: Photography\nbr>\nbr>\nb>a href\https:\/\/aperture.org\/new-and-noteworthy\/photowork-forty-photographers-on-process-and-practice\/\ target\_blank\>PhotoWork: Forty Photographers on Process and Practice\/a>\/b>br>\ned. Sasha Wolf, Aperture\nbr>\nbr>a href\https:\/\/aperture.org\/new-and-noteworthy\/photowork-forty-photographers-on-process-and-practice\/\ target\_blank\ class\image-link\>img width\668\ height\503\ width_o\668\ height_o\503\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/f12285acb262ef5245038a067e31f9e7b2209465d5d416159cd7f183c2402ffc\/photowork2.jpg\ data-mid\85172067\ border\0\ data-no-zoom\/>\/a>br>\n\nbr>\nb>a href\http:\/\/www.samepaper.com\/Issue-02-NEW\ target\_blank\>The Present Age\/a>\/b>\nbr>\nFeature in Closing Ceremony Magazine Issue 02br>br>\nb>a href\https:\/\/www.macdowell.org\/news\/86-artists-awarded-spring-mac-dowell-fellowships\ target\_blank\>MacDowell Colony Fellowship\/a>\/b>br>\nRecipient of a 2019 MacDowell Colony Fellowship\nbr>\nbr>\nb>a href\https:\/\/www.printedmatter.org\/programs\/events\/759\ target\_blank\>Reading and Discussion of The Poetics\/a>\/b>br>\nwith Lucy Ives\nbr>\nFriday, Nov 30, 2018. 6pm-8pm\nbr>\nPrinted Matter, NYCbr>br>\nb>a href\https:\/\/paper-journal.com\/shop\/paper-journal-01\/\ target\_blank\>A Hidden Revolution: Inside North Korea\/a>\/b>\nbr>Interview with Giada De Agostinis in Paper Journal (Jun 2018)br>\nbr>\n\n\n\na href\https:\/\/paper-journal.com\/shop\/paper-journal-01\/\ target\_blank\ class\image-link\>img width\566\ height\755\ width_o\566\ height_o\755\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/2994c5ebb78fd01294f2589274cb917dcc5d13778ba633b265595f3f354bb4d0\/tumblr_p6f47tmUdT1tofoizo1_640.png\ data-mid\85128590\ border\0\ data-no-zoom\/>\/a>br>\n\n\n\nbr>b>a href\https:\/\/www.wsj.com\/articles\/momas-human-focus-1521064112\ target\_blank\>MoMA\u2019s Human Focus\/a>\/b>\nbr>\nRichard Woodward, i>The Wall Street Journal\/i> (Mar 15, 2018)br>\nbr>\nb>a href\https:\/\/www.nytimes.com\/2018\/03\/09\/arts\/design\/museum-of-modern-art-being-new-photography.html\ target\_blank\>What\u2019s New in Photography? Humanism, MoMA Says\/a>\/b>br>Arthur Lubow, i>The New York Times \/i>(Mar 11, 2018)br>br>\n\n\n\n\nb>a href\https:\/\/www.moma.org\/calendar\/exhibitions\/3886\ target\_blank\>Being: New Photography 2018\/a>\/b>br>\nGroup Exhibition br>\ncurated by Lucy Gallunbr>\nMuseum of Modern Art, New Yorkbr>\nMar 18 - Aug 19, 2018br>\nbr>\n\na href\https:\/\/www.moma.org\/calendar\/exhibitions\/3886\ target\_blank\ class\image-link\>img width\880\ height\1200\ width_o\880\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/935d066d61ead66bf58589e3e0aa515101a98f642398aeb3ab3dbdac9143339d\/18SP_00005.jpg\ data-mid\85163362\ border\0\ data-no-zoom\/>\/a>br>\nbr>\nb>a href\https:\/\/www.artbook.com\/9780990698012.html\ target\_blank\>OSMOS Magazine\/a>\/b>br>\nFeature of Unanimous Desires in OSMOS Magazine: Issue 14 (Apr, 2018)br>br>b>a href\https:\/\/paper-journal.com\/studio-visit-matthew-connors\/\ target\_blank\>Studio Visit \u2013 Matthew Connors\/a>\/b>br>Interview with Giada De Agostinis, i>Paper Journal\/i> (May 2, 2017)\nbr>br>\n\nbr>,thumb:85064050,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:85064050,project_id:15441513,image_ref:{image 1},name:photowork-cover-copy.jpg,hash:0faff4987805e8e8215898a5930cbc33199cb179f43c5312352da63999580c25,width:725,height:1149,sort:0,exclude_from_backdrop:false,date_added:1601150855},stored:{ratio:158.48275862069,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:false,sort:60,index:0,set_id:15440672,page_options:{using_local_css:true,local_css:local-style\15441513\ .container_width {\n}\n\nlocal-style\15441513\ body {\n\tbackground-color: initial \/*!variable_defaults*\/;\n}\n\nlocal-style\15441513\ .backdrop {\n\twidth: 100% \/*!background_cover*\/;\n}\n\nlocal-style\15441513\ .page {\n\tmin-height: auto \/*!page_height_default*\/;\n}\n\nlocal-style\15441513\ .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\nlocal-style\15441513\ 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Right,tags:,display:false,pin:true,pin_options:{position:top,overlay:true,fixed:true,accommodate:true,exclude_mobile:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:SELECTED PRESS & TEXTS\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nHong Kong Free Press\n(Aug, 2023)\n\n\nRadio Free Asia\nInterview with Gigi Lee\n\n(Aug, 2023)\n\n\n\nLight Work Exhibtion...,content:br>br>\nbr>\nh2>b>SELECTED PRESS & TEXTS\/b>\/h2>hr>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nb>a href\https:\/\/hongkongfp.com\/2023\/08\/29\/us-photography-professor-who-covered-2019-protests-says-hong-kong-denied-him-entry-suspects-he-is-on-a-list\/\ target\_blank\>Hong Kong Free Press\/a>\/b>br>(Aug, 2023)br>br>\nb>a href\https:\/\/www.rfa.org\/english\/news\/china\/hongkong-interview-photographer-08292023170220.html\ target\_blank\>Radio Free Asia\/a>\/b>br>Interview with Gigi Leebr>\n(Aug, 2023)b>\/b>br>\nbr>\nb>a href\https:\/\/www.lightwork.org\/archive\/matthew-connorsly-general-assembly\/\ target\_blank\>Light Work Exhibtion Video\/a>\/b> br>\n(Sep, 2020)br>br>\nb>a href\https:\/\/brooklynrail.org\/2020\/07\/books\/Partial-Reveals-Inclusive-Revelations-in-the-Post-Truth-Simulacracy\ target\_blank\>Partial Reveals & Inclusive Revelations in the Post-Truth Simulacracy: i>The Poetics\/i>\/a>\/b>br> Chris Campanioni, i>The Brooklyn Rail \/i>(Jul-Aug, 2020)br>\n\n\n\nbr>b>a href\https:\/\/www.wgbh.org\/news\/arts\/2020\/01\/30\/local-photographer-reflects-on-hong-kong\ target\_blank\>Local Photographer Reflects on Hong Kong\/a>br>\/b>TV interview with Liz Neisloss, \ni>WGBH Greater Boston\/i> (aired Jan, 2020)br>\n\n\n\nbr>b>a href\https:\/\/www.scmp.com\/news\/hong-kong\/politics\/article\/3044660\/american-photographer-who-covered-hong-kong-protests-denied\ target\_blank\>American Photographer Who Covered Hong Kong Protests Denied Entry into City\/a>\/b>br> Alvin Lum, i>South China \t\t\tMorning Post \/i>(Jan, 2020)br>\nbr>b>a href\https:\/\/story.californiasunday.com\/hong-kong-protests-photos\ target\_blank\>Tear Gas on One Street and Civilians Walking on Another\/a>\/b> br>Feature with Karen Cheung and Lau Chi Chung in i>The California Sunday Magazine\/i> (Dec, 2019)br>\n\n\n\n\nbr>b>a href\What-Does-a-Metaphor-Rest-Upon\ rel\history\>What Does a Metaphor Rest Upon?\/a>\/b>br>Andrianna Campbell, i>Contact Sheet: Light Work Annual \/i>(Summer, 2018)br>\n\n\n\nbr>\nb>A Hidden Revolution: Inside North Korea\/b>\nbr>Interview with Giada De Agostinis in i>Paper Journal\/i> (Jun, 2018)br>br>b>a href\https:\/\/www.wsj.com\/articles\/momas-human-focus-1521064112\ target\_blank\>MoMA\u2019s Human Focus\/a>\/b>\nbr>Richard Woodward, i>The Wall Street Journal\/i> (Mar, 2018)br>\nbr>\nb>a href\https:\/\/www.nytimes.com\/2018\/03\/09\/arts\/design\/museum-of-modern-art-being-new-photography.html\ target\_blank\>What\u2019s New in Photography? Humanism, MoMA Says\/a>\/b>br>Arthur Lubow, i>The New York Times \/i>(Mar, 2018)br>\n\n\t\t\t\t\t\tbr>b>a href\https:\/\/paper-journal.com\/studio-visit-matthew-connors\/\ target\_blank\>Studio Visit \u2013 Matthew Connors\/a>\/b>br>Interview with Giada De Agostinis, i>Paper Journal\/i> (May, 2017)br>br>b>a href\https:\/\/tunicastudio.com\/matthew-connors\/\>Interview with Clara Balaguer and Czar Kristoff \/a>\/b>br>\ni>TUNICA Magazine\/i>, Issue No. 5 (Jun, 2016)br>\n\n\t\t\t\t\t\tbr>b>a href\https:\/\/americansuburbx.com\/2016\/05\/matthew-connors-cairos-crow-black-eye.html\>Cairo\u2019s Crow Black Eye\/a>\/b>br>Brad Feuerhelm, i>American Suburb X\/i> (May, 2016)br>br>b>a href\https:\/\/www.icp.org\/infinity-awards\/matthew%E2%80%93connors\>ICP Infinity Award Interview Video \/a>\/b>br>\n(Apr, 2016)br>\nbr>b>a href\https:\/\/lens.blogs.nytimes.com\/2016\/04\/06\/from-occupy-wall-street-to-the-arab-spring\/\>From Occupy Wall Street to the Arab Spring\/a>\/b> br>\nJohn Otis, i>The\/i> i>New York Times Lens Blog\/i> (Apr, 2016)br>\nbr>b>a href\https:\/\/photomonitor.co.uk\/book\/fire-in-cairo\/\>Fire in Cairo\/a>\/b>br>Marco Bohr, i>Photomonitor\/i> (Mar, 2016) br>br>b>a href\https:\/\/www.madamasr.com\/en\/2016\/02\/27\/panorama\/u\/a-critical-look-at-fire-in-cairo\/\ target\_blank\>A Critical Look at Fire in Cairo\/a>\/b>br>Ronnie Close, i>Mada Masr Panorama\/i> (Feb, 2016)br>br>b>a href\https:\/\/www.lemonde.fr\/m-actu\/article\/2016\/01\/19\/un-autre-regard-sur-la-place-tahrir_4849958_4497186.html#meter_toaster\ target\_blank\>Un Autre Regard sur la Place Tahrir \/a>\/b>br>He\u0301le\u0300ne Sallon, i>Le Magazine du Monde\/i> (Jan, 2016)br>br>\nb>a href\https:\/\/time.com\/4050829\/fire-in-cairo-revisiting-the-revolution-in-egypt\/\ target\_blank\>Fire in Cairo: Revisiting the Revolution in Egypt\/a>\/b>br>\nPaul Moakley, i>Time Lightbox, (\/i>Sep, 2015)br>\n\n\n\nbr>b>a href\frieze-books\ rel\history\>Books: How Can Photographers Respond to Landscapes of Conflict and Change?\/a>\/b>br>Brian Sholis, i>frieze\/i>, No. 174 (Oct, 2015)br>br>b>a href\https:\/\/www.1000wordsmag.com\/matthew-connors\/\ target\_blank\>Matthew Connors, Fire in Cairo\/a>\/b>br>Max Houghton, i>1000 Words \/i>(Oct, 2015)br>br>b>a href\https:\/\/collectordaily.com\/matthew-connors-fire-in-cairo\/\ target\_blank\>Matthew Connors, Fire in Cairo\/a>\/b>br>Olga Yatskevich, i>Collector Daily\/i> (Oct, 2015)br>br>b>a href\https:\/\/blog.photoeye.com\/2015\/09\/book-review-fire-in-cairo.html\ target\_blank\>Book Review: Fire in Cairo\/a>\/b>br>Adam Bell, i>photo-eye \/i>(Sep, 2015)br>br>b>a href\https:\/\/cphmag.com\/reviews-w362015\/\ target\_blank\>Photobook Reviews (W36\/2015)\/a>\/b>br>Jo\u0308rg M. Coberg, \ni>Conscientious Photo Magazine\/i> (Sep, 2015)br>br>b>a href\BJP-Fire-in-Cairo\ rel\history\>Fire in Cairo\/a>\/b>br>\nLucy Davies, i>British Journal of Photography\/i> (Jun, 2015)br>br>\nb>a href\unsuspending-disbelief\ rel\history\>Unsuspending Disbelief: The Subject of Pictures\/a>\/b>br>\nJanina Ciezadlo, i>afterimage\/i> (Jan\/Feb, 2015)br>\nbr>b>a href\https:\/\/bigredandshiny.org\/1465\/participation-documentation-and-the-future-of-occupy\/\ target\_blank\>Participation, Documentation and the Future of Occupy\/a>\/b>br>Interview with Dana Moser, i>Big, Red and Shiny\/i> (Jan, 2014)br>\nbr>,content_no_html:\n\nSELECTED PRESS & TEXTS\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nHong Kong Free Press(Aug, 2023)\nRadio Free AsiaInterview with Gigi Lee\n(Aug, 2023)\n\nLight Work Exhibtion Video \n(Sep, 2020)\nPartial Reveals & Inclusive Revelations in the Post-Truth Simulacracy: The Poetics Chris Campanioni, The Brooklyn Rail (Jul-Aug, 2020)\n\n\n\nLocal Photographer Reflects on Hong KongTV interview with Liz Neisloss, \nWGBH Greater Boston (aired Jan, 2020)\n\n\n\nAmerican Photographer Who Covered Hong Kong Protests Denied Entry into City Alvin Lum, South China \t\t\tMorning Post (Jan, 2020)\nTear Gas on One Street and Civilians Walking on Another Feature with Karen Cheung and Lau Chi Chung in The California Sunday Magazine (Dec, 2019)\n\n\n\n\nWhat Does a Metaphor Rest Upon?Andrianna Campbell, Contact Sheet: Light Work Annual (Summer, 2018)\n\n\n\n\nA Hidden Revolution: Inside North Korea\nInterview with Giada De Agostinis in Paper Journal (Jun, 2018)MoMA\u2019s Human Focus\nRichard Woodward, The Wall Street Journal (Mar, 2018)\n\nWhat\u2019s New in Photography? Humanism, MoMA SaysArthur Lubow, The New York Times (Mar, 2018)\n\n\t\t\t\t\t\tStudio Visit \u2013 Matthew ConnorsInterview with Giada De Agostinis, Paper Journal (May, 2017)Interview with Clara Balaguer and Czar Kristoff \nTUNICA Magazine, Issue No. 5 (Jun, 2016)\n\n\t\t\t\t\t\tCairo\u2019s Crow Black EyeBrad Feuerhelm, American Suburb X (May, 2016)ICP Infinity Award Interview Video \n(Apr, 2016)\nFrom Occupy Wall Street to the Arab Spring \nJohn Otis, The New York Times Lens Blog (Apr, 2016)\nFire in CairoMarco Bohr, Photomonitor (Mar, 2016) A Critical Look at Fire in CairoRonnie Close, Mada Masr Panorama (Feb, 2016)Un Autre Regard sur la Place Tahrir He\u0301le\u0300ne Sallon, Le Magazine du Monde (Jan, 2016)\nFire in Cairo: Revisiting the Revolution in Egypt\nPaul Moakley, Time Lightbox, (Sep, 2015)\n\n\n\nBooks: How Can Photographers Respond to Landscapes of Conflict and Change?Brian Sholis, frieze, No. 174 (Oct, 2015)Matthew Connors, Fire in CairoMax Houghton, 1000 Words (Oct, 2015)Matthew Connors, Fire in CairoOlga Yatskevich, Collector Daily (Oct, 2015)Book Review: Fire in CairoAdam Bell, photo-eye (Sep, 2015)Photobook Reviews (W36\/2015)Jo\u0308rg M. Coberg, \nConscientious Photo Magazine (Sep, 2015)Fire in Cairo\nLucy Davies, British Journal of Photography (Jun, 2015)\nUnsuspending Disbelief: The Subject of Pictures\nJanina Ciezadlo, afterimage (Jan\/Feb, 2015)\nParticipation, Documentation and the Future of OccupyInterview with Dana Moser, Big, Red and Shiny (Jan, 2014)\n,content_partial_html:br>br>\nbr>\nh2>b>SELECTED PRESS & TEXTS\/b>\/h2>hr>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nb>a href\https:\/\/hongkongfp.com\/2023\/08\/29\/us-photography-professor-who-covered-2019-protests-says-hong-kong-denied-him-entry-suspects-he-is-on-a-list\/\ target\_blank\>Hong Kong Free Press\/a>\/b>br>(Aug, 2023)br>br>\nb>a href\https:\/\/www.rfa.org\/english\/news\/china\/hongkong-interview-photographer-08292023170220.html\ target\_blank\>Radio Free Asia\/a>\/b>br>Interview with Gigi Leebr>\n(Aug, 2023)b>\/b>br>\nbr>\nb>a href\https:\/\/www.lightwork.org\/archive\/matthew-connorsly-general-assembly\/\ target\_blank\>Light Work Exhibtion Video\/a>\/b> br>\n(Sep, 2020)br>br>\nb>a href\https:\/\/brooklynrail.org\/2020\/07\/books\/Partial-Reveals-Inclusive-Revelations-in-the-Post-Truth-Simulacracy\ target\_blank\>Partial Reveals & Inclusive Revelations in the Post-Truth Simulacracy: i>The Poetics\/i>\/a>\/b>br> Chris Campanioni, i>The Brooklyn Rail \/i>(Jul-Aug, 2020)br>\n\n\n\nbr>b>a href\https:\/\/www.wgbh.org\/news\/arts\/2020\/01\/30\/local-photographer-reflects-on-hong-kong\ target\_blank\>Local Photographer Reflects on Hong Kong\/a>br>\/b>TV interview with Liz Neisloss, \ni>WGBH Greater Boston\/i> (aired Jan, 2020)br>\n\n\n\nbr>b>a href\https:\/\/www.scmp.com\/news\/hong-kong\/politics\/article\/3044660\/american-photographer-who-covered-hong-kong-protests-denied\ target\_blank\>American Photographer Who Covered Hong Kong Protests Denied Entry into City\/a>\/b>br> Alvin Lum, i>South China \t\t\tMorning Post \/i>(Jan, 2020)br>\nbr>b>a href\https:\/\/story.californiasunday.com\/hong-kong-protests-photos\ target\_blank\>Tear Gas on One Street and Civilians Walking on Another\/a>\/b> br>Feature with Karen Cheung and Lau Chi Chung in i>The California Sunday Magazine\/i> (Dec, 2019)br>\n\n\n\n\nbr>b>a href\What-Does-a-Metaphor-Rest-Upon\ rel\history\>What Does a Metaphor Rest Upon?\/a>\/b>br>Andrianna Campbell, i>Contact Sheet: Light Work Annual \/i>(Summer, 2018)br>\n\n\n\nbr>\nb>A Hidden Revolution: Inside North Korea\/b>\nbr>Interview with Giada De Agostinis in i>Paper Journal\/i> (Jun, 2018)br>br>b>a href\https:\/\/www.wsj.com\/articles\/momas-human-focus-1521064112\ target\_blank\>MoMA\u2019s Human Focus\/a>\/b>\nbr>Richard Woodward, i>The Wall Street Journal\/i> (Mar, 2018)br>\nbr>\nb>a href\https:\/\/www.nytimes.com\/2018\/03\/09\/arts\/design\/museum-of-modern-art-being-new-photography.html\ target\_blank\>What\u2019s New in Photography? Humanism, MoMA Says\/a>\/b>br>Arthur Lubow, i>The New York Times \/i>(Mar, 2018)br>\n\n\t\t\t\t\t\tbr>b>a href\https:\/\/paper-journal.com\/studio-visit-matthew-connors\/\ target\_blank\>Studio Visit \u2013 Matthew Connors\/a>\/b>br>Interview with Giada De Agostinis, i>Paper Journal\/i> (May, 2017)br>br>b>a href\https:\/\/tunicastudio.com\/matthew-connors\/\>Interview with Clara Balaguer and Czar Kristoff \/a>\/b>br>\ni>TUNICA Magazine\/i>, Issue No. 5 (Jun, 2016)br>\n\n\t\t\t\t\t\tbr>b>a href\https:\/\/americansuburbx.com\/2016\/05\/matthew-connors-cairos-crow-black-eye.html\>Cairo\u2019s Crow Black Eye\/a>\/b>br>Brad Feuerhelm, i>American Suburb X\/i> (May, 2016)br>br>b>a href\https:\/\/www.icp.org\/infinity-awards\/matthew%E2%80%93connors\>ICP Infinity Award Interview Video \/a>\/b>br>\n(Apr, 2016)br>\nbr>b>a href\https:\/\/lens.blogs.nytimes.com\/2016\/04\/06\/from-occupy-wall-street-to-the-arab-spring\/\>From Occupy Wall Street to the Arab Spring\/a>\/b> br>\nJohn Otis, i>The\/i> i>New York Times Lens Blog\/i> (Apr, 2016)br>\nbr>b>a href\https:\/\/photomonitor.co.uk\/book\/fire-in-cairo\/\>Fire in Cairo\/a>\/b>br>Marco Bohr, i>Photomonitor\/i> (Mar, 2016) br>br>b>a href\https:\/\/www.madamasr.com\/en\/2016\/02\/27\/panorama\/u\/a-critical-look-at-fire-in-cairo\/\ target\_blank\>A Critical Look at Fire in Cairo\/a>\/b>br>Ronnie Close, i>Mada Masr Panorama\/i> (Feb, 2016)br>br>b>a href\https:\/\/www.lemonde.fr\/m-actu\/article\/2016\/01\/19\/un-autre-regard-sur-la-place-tahrir_4849958_4497186.html#meter_toaster\ target\_blank\>Un Autre Regard sur la Place Tahrir \/a>\/b>br>He\u0301le\u0300ne Sallon, i>Le Magazine du Monde\/i> (Jan, 2016)br>br>\nb>a href\https:\/\/time.com\/4050829\/fire-in-cairo-revisiting-the-revolution-in-egypt\/\ target\_blank\>Fire in Cairo: Revisiting the Revolution in Egypt\/a>\/b>br>\nPaul Moakley, i>Time Lightbox, (\/i>Sep, 2015)br>\n\n\n\nbr>b>a href\frieze-books\ rel\history\>Books: How Can Photographers Respond to Landscapes of Conflict and Change?\/a>\/b>br>Brian Sholis, i>frieze\/i>, No. 174 (Oct, 2015)br>br>b>a href\https:\/\/www.1000wordsmag.com\/matthew-connors\/\ target\_blank\>Matthew Connors, Fire in Cairo\/a>\/b>br>Max Houghton, i>1000 Words \/i>(Oct, 2015)br>br>b>a href\https:\/\/collectordaily.com\/matthew-connors-fire-in-cairo\/\ target\_blank\>Matthew Connors, Fire in Cairo\/a>\/b>br>Olga Yatskevich, i>Collector Daily\/i> (Oct, 2015)br>br>b>a href\https:\/\/blog.photoeye.com\/2015\/09\/book-review-fire-in-cairo.html\ target\_blank\>Book Review: Fire in Cairo\/a>\/b>br>Adam Bell, i>photo-eye \/i>(Sep, 2015)br>br>b>a href\https:\/\/cphmag.com\/reviews-w362015\/\ target\_blank\>Photobook Reviews (W36\/2015)\/a>\/b>br>Jo\u0308rg M. Coberg, \ni>Conscientious Photo Magazine\/i> (Sep, 2015)br>br>b>a href\BJP-Fire-in-Cairo\ rel\history\>Fire in Cairo\/a>\/b>br>\nLucy Davies, i>British Journal of Photography\/i> (Jun, 2015)br>br>\nb>a href\unsuspending-disbelief\ rel\history\>Unsuspending Disbelief: The Subject of Pictures\/a>\/b>br>\nJanina Ciezadlo, i>afterimage\/i> (Jan\/Feb, 2015)br>\nbr>b>a href\https:\/\/bigredandshiny.org\/1465\/participation-documentation-and-the-future-of-occupy\/\ target\_blank\>Participation, Documentation and the Future of Occupy\/a>\/b>br>Interview with Dana Moser, i>Big, Red and Shiny\/i> (Jan, 2014)br>\nbr>,thumb:83811919,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:83811919,project_id:15440759,image_ref:{image 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10},name:photowork-cover.jpg,hash:d79bae414138e43b0c0cd174f8bc04f544dc6b2fab937bca217cdfd22ba80a2b,width:1000,height:1250,sort:0,exclude_from_backdrop:false,date_added:1601143133},{id:83850159,project_id:15440759,image_ref:{image 11},name:photowork-cover-copy.jpg,hash:0faff4987805e8e8215898a5930cbc33199cb179f43c5312352da63999580c25,width:725,height:1149,sort:0,exclude_from_backdrop:false,date_added:1601150855},{id:83850586,project_id:15440759,image_ref:{image 12},name:ThePoetics.jpg,hash:dd7de42aed0112cb40dfd80f111676deba1191771ad64658aac99fb09c832663,width:960,height:1200,sort:0,exclude_from_backdrop:false,date_added:1601151637},{id:83850696,project_id:15440759,image_ref:{image 13},name:ThePoetics.jpg,hash:7b1715e97dd63f29cd6f5a4689fa237d76a1e468236df29b92aa8c0f4e836646,width:960,height:1200,sort:0,exclude_from_backdrop:false,date_added:1601151864},backdrop:null},{id:16297273,site_id:868680,project_url:Info-Mobile,direct_link:https:\/\/matthewconnors.com\/Info-Mobile,type:page,title:Info Mobile,title_no_html:Info Mobile,tags:,display:false,pin:true,pin_options:{position:top,overlay:false,fixed:false,accommodate:true,exclude_mobile:false,exclude_desktop:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:BIOMatthew Connors is an artist whose commitment to the medium of photography has been propelled by the revelatory potential of the public sphere. Rooted in...,content:br>h2>b>BIO\/b>\/h2>hr>Matthew Connors is an artist whose commitment to the medium of photography has been propelled by the revelatory potential of the public sphere. Rooted in specific currents of history, his bodies of work create a new visual encyclopedia of forms, portraits, symbols, and residues that emerge from protest movements, war, and oppressive systems of governance. His lyrical yet methodical approach resonates with political documentary and street photography, but continually challenges and transforms these categories. br>\n\nbr>His photographs have been exhibited in museums and galleries worldwide, including the Museum of Modern Art in New York and DOX Centre for Contemporary Art in Prague. His first monograph i>Fire in Cairo\/i> (SPBH Editions, 2015)i> \/i>was awarded the ICP Infinity Award for best artist book in 2016. He has also been awarded the Abigail Cohen Rome Prize, a Headlands Center for the Arts Residency, two MacDowell Colony Fellowships, the Lightwork Artist-in-Residence Fellowship, and the Virginia Center for Creative Arts Fellowship. br>\n\nbr>Connors earned a BA in English Literature from the University of Chicago and a MFA in Photography from Yale University. He has taught in the Image Text Ithaca MFA Program, the Yale University MFA Program, and in the Photography Department at the Massachusetts College of Art & Design where he has been a professor since 2004. br>br>small>a href\mailto:info@matthewconnors.com\ class\icon-link\>\ue000\ufe0e\/a>\/small>small> a href\http:\/\/www.instagram.com\/matthewconnors_\/?\ target\_blank\ class\icon-link\>\ue025\ufe0e\/a> \/small>\nbr>br>\nbr>br>h2>b>NEWS\/b>\/h2>hr>b>The Axe Will Survive the Master \/b>br>Solo exhibition br>Mar 22 - May 02, 2023br>Barnes Ogden Center, LSU br>Baton Rouge, LAbr>\nbr>\ndiv style\text-align: center\>img width\588\ height\910\ width_o\588\ height_o\910\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/c0562cc9e3da65ea01ca57a99da9ee3514ca588b473d7b915b393cc44f535ab0\/axe.jpg\ data-mid\209248076\ border\0\ data-scale\90\ data-no-zoom\/>\/div>br>\nb>a href\https:\/\/www.headlands.org\/artist\/matthew-connors\/\ target\_blank\>Headlands Center for the Arts\/a>\/b>br>Artist in Residence br>Summer 2022br>br>b>a href\https:\/\/artpapereditions.org\/products\/urtzi-grau-guillermo-fernandez-abascal-folk-costumes-indo-pacific-air\ target\_blank\>Folk Costumes, Indo-Pacific Air\/a>\/b>br>Group Publicationbr>ed. Urtzi Grau & Guillermo Fern\u00e1ndez-Abascalbr>May 2022br>\nbr>div style\text-align: center\>img width\485\ height\672\ width_o\485\ height_o\672\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/aae90c870c2a339590661c86ae3ef444f44680c9e9614b2de7fa5eadebc614c5\/Untitled-1.jpg\ data-mid\209248077\ border\0\ data-scale\90\ data-no-zoom\/>br>\/div>\nbr>\nb>MassArt Faculty Fellowship \/b>br>2021 Recipientbr>\nbr>\nb>a href\https:\/\/tiltinstitute.org\/event\/object-lesson-the-legacy-of-richard-benson\/\ target\_blank\>Object Lesson \/a>\/b>br>Sep 21, 2021 - Jan 08, 2022br>Group Exhibition at TILT Institutebr>Philadelphia, PAbr>\nb>a href\https:\/\/statesofchange.us\/products\/matthew-connors\ target\_blank\>States of Change\/a>\/b>br>Print sale benefit to fight voter suppression in AZ, FL, MI, PA & WIbr>br>\nb>a href\https:\/\/www.lightwork.org\/product\/contact-sheet-208-matthew-connors\/\ target\_blank\>Contact Sheet 208: Matthew Connors\/a>\/b>\nbr>General Assembly Exhibition Cataloguebr>\nbr>div style\text-align: center\>img width\900\ height\1200\ width_o\900\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/931f3555d3d27905e6d58abd129fa39fa3af91dcecb432f6141b5bafbec3b316\/ContactSheet208.jpg\ data-mid\88777528\ border\0\ data-scale\90\ data-no-zoom\/>br>\/div>\nbr>\nb>a href\https:\/\/www.lightwork.org\/archive\/matthew-connorsly-general-assembly\/\ target\_blank\>General Assembly\/a>\/b>br>Solo Exhibitionbr>Aug 24 to Oct 15, 2020br>Kathleen O. Ellis Gallery\nLight Work, Syracuse, NYbr>\nbr>\nb>a href\https:\/\/brooklynrail.org\/2020\/07\/books\/Partial-Reveals-Inclusive-Revelations-in-the-Post-Truth-Simulacracy\ target\_blank\>Partial Reveals & Inclusive Revelations in the Post-Truth Simulacracy: i>The Poetics\/i>\/a>\/b>br>Chris Campanioni, i>The Brooklyn Rail \/i>(Jul-Aug, 2020)br>br>b>a href\https:\/\/www.liberation.fr\/photographie\/2020\/08\/25\/au-caire-de-la-revolte_1797268\ target\_blank\>Au Caire de la R\u00e9volte\/a>\/b> br>Alessandro Zuffi, i>Lib\u00e9ration \u00c9T\u00c9\/i> (Aug 25, 2020)br>br>\nb>a href\https:\/\/thetimeisnowfundraiser.com\/artists\/126-matthew-connors\/works\/\ target\_blank\>The Time is Now\/a>\/b>br>Anti-racism fundraiser organized by Galerie Number 8 and Paper Journalbr>br>b>a href\https:\/\/www.photographsforpurpose.com\/about\ target\_blank\>Photographs for Purpose\/a>\/b>br>Print sale to benefit Equal Justice Initiative, Coalition of Immokalee Workers, Southerners on New Ground, and Planned Parenthoodbr>\nbr>b>a href\https:\/\/yesfuture.etudes-studio.com\/product\/matthew-connors\ target\_blank\>YES FUTURE\/a>\/b>br>\u00c9tudes print sale for Covid-19 reliefbr>\nbr>\ndiv style\text-align: center\>img width\1080\ height\1350\ width_o\1080\ height_o\1350\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/c2c7d4228235c47b185f39940424b253e380451ad7ff75c86ce6225916f8f920\/YES-FUTURE_IG_FEED_76.jpg\ data-mid\88777525\ border\0\ data-scale\90\ data-no-zoom\/>br>\/div>\nbr>\nb>a href\http:\/\/www.headlands.org\/artist\/matthew-connors\/\ target\_blank\>Headlands Center for the Arts\/a>\/b>\nbr>2020 Residency Recipientbr>\nbr>\nb>a href\https:\/\/www.wgbh.org\/news\/arts\/2020\/01\/30\/local-photographer-reflects-on-hong-kong\ target\_blank\>Local Photographer Reflects on Hong Kong\/a>br>\/b>TV interview with Liz Neisloss, i>WGBH Greater Boston\/i> (aired Jan 30, 2020)br>br>b>a href\https:\/\/www.scmp.com\/news\/hong-kong\/politics\/article\/3044660\/american-photographer-who-covered-hong-kong-protests-denied\ target\_blank\>American Photographer Who Covered Hong Kong Protests Denied Entry into City\/a>\/b>br> Alvin Lum, i>South China Morning Post \/i>(Jan 4, 2020)br>br>\nb>a href\https:\/\/story.californiasunday.com\/hong-kong-protests-photos\ target\_blank\>Tear Gas on One Street and Civilians Walking on Another\/a>\/b> br>Feature with Karen Cheung and Lau Chi Chung in i>The California Sunday Magazine\/i> (Dec 1, 2019)br>\nbr>\ndiv style\text-align: center\>b>img width\1080\ height\1350\ width_o\1080\ height_o\1350\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/d386c7e2f49f07aac72fdf2e6e676d0a8ba4af115b3a023ccb9e193ba8ff35d0\/Untitled-1.jpg\ data-mid\88777530\ border\0\ data-scale\90\ data-no-zoom\/>\/b>\/div>br>\nb>a href\https:\/\/www.thehumid.com\/the-workshop\ target\_blank\>Letters to the Editor\/a>\/b>br>Workshop with Matthew Connors and Curran Hatlebergbr>Nov 15-17, 2019br>The Humid, Athens, GAbr>br>\nb>Family Car Poetics\/b>br>Oyster Shucking and Book Signingbr>with Matthew Connors & Gus Powellbr>Sunday, Nov 10, 2019. 12pm - 3pmbr> Galerie Ghezelbashbr>12 Rue Jacob, Parisbr>\nbr>\ndiv style\text-align: center\>img width\450\ height\582\ width_o\450\ height_o\582\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/a63f9305a161ae7b191a330177738a6814fc7240b67c9f010375b63220c7e609\/FamilyCarPoetics_Flyer_v4.jpg\ data-mid\88777527\ border\0\ data-scale\90\ data-no-zoom\/>br>\/div>\nbr>b>a href\https:\/\/nyabf2019.printedmatterartbookfairs.org\/Saturday-21\ target\_blank\>The Poetics Reading at the New York Art Book Fair\/a>br>\/b>with Lucy Ives\nSaturday, Sep 21, 2019. 3pm\nNYABF Classroom, MoMA PS1br>br>\nb>a href\https:\/\/imagetextithaca.com\/collections\/frontpage\/products\/the-poetics\ target\_blank\>The Poetics Book Launch\/a>\/b>\nbr>New York Art Book Fair 2019br>Image Text Ithaca\nTable X08 in Focus: Photographybr>\nbr>\n\ndiv style\text-align: center\>img width\960\ height\1200\ width_o\960\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/9011328f28ecbd21929a06254b5a28833bf03c584d1a23b46547861c6f0b2e3f\/ThePoetics2.jpg\ data-mid\88777529\ border\0\ data-scale\90\ data-no-zoom\/>\/div>\nbr>\nb>a href\http:\/\/www.romannvmerals.com\/books\/NVII.html\ target\_blank\>Wake Book Launch\/a>\/b>\nbr>New York Art Book Fair 2019\nROMAN NVMERALS\nTable O05 in Focus: Photographybr>\nbr>\nb>a href\https:\/\/aperture.org\/new-and-noteworthy\/photowork-forty-photographers-on-process-and-practice\/\ target\_blank\>PhotoWork: Forty Photographers on Process and Practice\/a>\/b>br>ed. Sasha Wolf, Aperturebr>\nbr>div style\text-align: center\>img width\668\ height\503\ width_o\668\ height_o\503\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/f12285acb262ef5245038a067e31f9e7b2209465d5d416159cd7f183c2402ffc\/photowork2.jpg\ data-mid\88777532\ border\0\ data-scale\90\ data-no-zoom\/>br>\/div>\n\nbr>\nb>a href\http:\/\/www.samepaper.com\/Issue-02-NEW\ target\_blank\>The Present Age\/a>\/b>\nbr>Feature in Closing Ceremony Magazine Issue 02br>br>\nb>a href\https:\/\/www.macdowell.org\/news\/86-artists-awarded-spring-mac-dowell-fellowships\ target\_blank\>MacDowell Colony Fellowship\/a>\/b>br>Recipient of a 2019 MacDowell Colony Fellowshipbr>\nbr>\nb>a href\https:\/\/www.printedmatter.org\/programs\/events\/759\ target\_blank\>Reading and Discussion of The Poetics\/a>\/b>br>with Lucy Ivesbr>Friday, Nov 30, 2018. 6pm-8pmbr>Printed Matter, NYCbr>br>\nb>a href\https:\/\/paper-journal.com\/shop\/paper-journal-01\/\ target\_blank\>A Hidden Revolution: Inside North Korea\/a>\/b>\nbr>Interview with Giada De Agostinis in Paper Journal (Jun 2018)br>\nbr>\n\n\n\ndiv style\text-align: center\>img width\566\ height\755\ width_o\566\ height_o\755\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/2994c5ebb78fd01294f2589274cb917dcc5d13778ba633b265595f3f354bb4d0\/tumblr_p6f47tmUdT1tofoizo1_640.png\ data-mid\88777531\ border\0\ data-scale\90\ data-no-zoom\/>br>\/div>\n\n\n\nbr>b>a href\https:\/\/www.wsj.com\/articles\/momas-human-focus-1521064112\ target\_blank\>MoMA\u2019s Human Focus\/a>\/b>\nbr>Richard Woodward, i>The Wall Street Journal\/i> (Mar 15, 2018)br>\nbr>\nb>a href\https:\/\/www.nytimes.com\/2018\/03\/09\/arts\/design\/museum-of-modern-art-being-new-photography.html\ target\_blank\>What\u2019s New in Photography? Humanism, MoMA Says\/a>\/b>br>Arthur Lubow, i>The New York Times \/i>(Mar 11, 2018)br>br>\n\n\n\n\nb>a href\https:\/\/www.moma.org\/calendar\/exhibitions\/3886\ target\_blank\>Being: New Photography 2018\/a>\/b>br>Group Exhibition br>curated by Lucy Gallunbr>Museum of Modern Art, New Yorkbr>Mar 18 - Aug 19, 2018br>\nbr>\n\ndiv style\text-align: center\>img width\880\ height\1200\ width_o\880\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/935d066d61ead66bf58589e3e0aa515101a98f642398aeb3ab3dbdac9143339d\/18SP_00005.jpg\ data-mid\88777526\ border\0\ data-scale\90\ data-no-zoom\/>br>\/div>\nbr>\nb>a href\https:\/\/www.artbook.com\/9780990698012.html\ target\_blank\>OSMOS Magazine\/a>\/b>br>Feature of Unanimous Desires in OSMOS Magazine: Issue 14 (Apr, 2018)br>br>b>a href\https:\/\/paper-journal.com\/studio-visit-matthew-connors\/\ target\_blank\>Studio Visit \u2013 Matthew Connors\/a>\/b>br>Interview with Giada De Agostinis, i>Paper Journal\/i> (May 2, 2017)br>br>\nbr>br>h2>b>SELECTED PRESS & TEXTS\/b>\/h2>hr>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nb>a href\https:\/\/hongkongfp.com\/2023\/08\/29\/us-photography-professor-who-covered-2019-protests-says-hong-kong-denied-him-entry-suspects-he-is-on-a-list\/\ target\_blank\>Hong Kong Free Press\/a>\/b>br>(Aug, 2023)b>br>br>\na href\https:\/\/www.rfa.org\/english\/news\/china\/hongkong-interview-photographer-08292023170220.html\ target\_blank\>Radio Free Asia\/a>br>\/b>Interview with Gigi Leebr>(Aug, 2023)br>\nbr>\nb>a href\https:\/\/www.lightwork.org\/archive\/matthew-connorsly-general-assembly\/\ target\_blank\>Light Work Exhibtion Video\/a>\/b> br>(Sep, 2020)br>br>\nb>a href\https:\/\/brooklynrail.org\/2020\/07\/books\/Partial-Reveals-Inclusive-Revelations-in-the-Post-Truth-Simulacracy\ target\_blank\>Partial Reveals & Inclusive Revelations in the Post-Truth Simulacracy: i>The Poetics\/i>\/a>\/b>br> Chris Campanioni, i>The Brooklyn Rail \/i>(Jul-Aug, 2020)br>\n\n\n\nbr>b>a href\https:\/\/www.wgbh.org\/news\/arts\/2020\/01\/30\/local-photographer-reflects-on-hong-kong\ target\_blank\>Local Photographer Reflects on Hong Kong\/a>br>\/b>TV interview with Liz Neisloss, i>WGBH Greater Boston\/i> (aired Jan, 2020)br>\n\n\n\nbr>b>a href\https:\/\/www.scmp.com\/news\/hong-kong\/politics\/article\/3044660\/american-photographer-who-covered-hong-kong-protests-denied\ target\_blank\>American Photographer Who Covered Hong Kong Protests Denied Entry into City\/a>\/b>br> Alvin Lum, i>South China \t\t\tMorning Post \/i>(Jan, 2020)br>\nbr>b>a href\https:\/\/story.californiasunday.com\/hong-kong-protests-photos\ target\_blank\>Tear Gas on One Street and Civilians Walking on Another\/a>\/b> br>Feature with Karen Cheung and Lau Chi Chung in i>The California Sunday Magazine\/i> (Dec, 2019)br>\n\n\n\n\nbr>b>a href\What-Does-a-Metaphor-Rest-Upon\ rel\history\>What Does a Metaphor Rest Upon?\/a>\/b>br>Andrianna Campbell, i>Contact Sheet: Light Work Annual \/i>(Summer, 2018)br>\n\n\n\nbr>\nb>A Hidden Revolution: Inside North Korea\/b>\nbr>Interview with Giada De Agostinis in i>Paper Journal\/i> (Jun, 2018)br>br>b>a href\https:\/\/www.wsj.com\/articles\/momas-human-focus-1521064112\ target\_blank\>MoMA\u2019s Human Focus\/a>\/b>\nbr>Richard Woodward, i>The Wall Street Journal\/i> (Mar, 2018)br>\nbr>\nb>a href\https:\/\/www.nytimes.com\/2018\/03\/09\/arts\/design\/museum-of-modern-art-being-new-photography.html\ target\_blank\>What\u2019s New in Photography? Humanism, MoMA Says\/a>\/b>br>Arthur Lubow, i>The New York Times \/i>(Mar, 2018)br>\n\n\t\t\t\t\t\tbr>b>a href\https:\/\/paper-journal.com\/studio-visit-matthew-connors\/\ target\_blank\>Studio Visit \u2013 Matthew Connors\/a>\/b>br>Interview with Giada De Agostinis, i>Paper Journal\/i> (May, 2017)br>br>b>a href\https:\/\/tunicastudio.com\/matthew-connors\/\>Interview with Clara Balaguer and Czar Kristoff \/a>\/b>br>\ni>TUNICA Magazine\/i>, Issue No. 5 (Jun, 2016)br>\n\n\t\t\t\t\t\tbr>b>a href\https:\/\/americansuburbx.com\/2016\/05\/matthew-connors-cairos-crow-black-eye.html\>Cairo\u2019s Crow Black Eye\/a>\/b>br>Brad Feuerhelm, i>American Suburb X\/i> (May, 2016)br>br>b>a href\https:\/\/www.icp.org\/infinity-awards\/matthew%E2%80%93connors\>ICP Infinity Award Interview Video \/a>\/b>br>(Apr, 2016)br>\nbr>b>a href\https:\/\/lens.blogs.nytimes.com\/2016\/04\/06\/from-occupy-wall-street-to-the-arab-spring\/\>From Occupy Wall Street to the Arab Spring\/a>\/b> br>John Otis, i>The\/i> i>New York Times Lens Blog\/i> (Apr, 2016)br>\nbr>b>a href\https:\/\/photomonitor.co.uk\/book\/fire-in-cairo\/\>Fire in Cairo\/a>\/b>br>Marco Bohr, i>Photomonitor\/i> (Mar, 2016) br>br>b>a href\https:\/\/www.madamasr.com\/en\/2016\/02\/27\/panorama\/u\/a-critical-look-at-fire-in-cairo\/\ target\_blank\>A Critical Look at Fire in Cairo\/a>\/b>br>Ronnie Close, i>Mada Masr Panorama\/i> (Feb, 2016)br>br>b>a href\https:\/\/www.lemonde.fr\/m-actu\/article\/2016\/01\/19\/un-autre-regard-sur-la-place-tahrir_4849958_4497186.html#meter_toaster\ target\_blank\>Un Autre Regard sur la Place Tahrir \/a>\/b>br>He\u0301le\u0300ne Sallon, i>Le Magazine du Monde\/i> (Jan, 2016)br>br>\nb>a href\https:\/\/time.com\/4050829\/fire-in-cairo-revisiting-the-revolution-in-egypt\/\ target\_blank\>Fire in Cairo: Revisiting the Revolution in Egypt\/a>\/b>br>Paul Moakley, i>Time Lightbox, (\/i>Sep, 2015)br>\n\n\n\nbr>b>a href\frieze-books\ rel\history\>Books: How Can Photographers Respond to Landscapes of Conflict and Change?\/a>\/b>br>Brian Sholis, i>frieze\/i>, No. 174 (Oct, 2015)br>br>b>a href\https:\/\/www.1000wordsmag.com\/matthew-connors\/\ target\_blank\>Matthew Connors, Fire in Cairo\/a>\/b>br>Max Houghton, i>1000 Words \/i>(Oct, 2015)br>br>b>a href\https:\/\/collectordaily.com\/matthew-connors-fire-in-cairo\/\ target\_blank\>Matthew Connors, Fire in Cairo\/a>\/b>br>Olga Yatskevich, i>Collector Daily\/i> (Oct, 2015)br>br>b>a href\https:\/\/blog.photoeye.com\/2015\/09\/book-review-fire-in-cairo.html\ target\_blank\>Book Review: Fire in Cairo\/a>\/b>br>Adam Bell, i>photo-eye \/i>(Sep, 2015)br>br>b>a href\https:\/\/cphmag.com\/reviews-w362015\/\ target\_blank\>Photobook Reviews (W36\/2015)\/a>\/b>br>Jo\u0308rg M. Coberg, i>Conscientious Photo Magazine\/i> (Sep, 2015)br>br>b>a href\BJP-Fire-in-Cairo\ rel\history\>Fire in Cairo\/a>\/b>br>Lucy Davies, i>British Journal of Photography\/i> (Jun, 2015)br>br>\nb>a href\unsuspending-disbelief\ rel\history\>Unsuspending Disbelief: The Subject of Pictures\/a>\/b>br>Janina Ciezadlo, i>afterimage\/i> (Jan\/Feb, 2015)br>\nbr>b>a href\https:\/\/bigredandshiny.org\/1465\/participation-documentation-and-the-future-of-occupy\/\ target\_blank\>Participation, Documentation and the Future of Occupy\/a>\/b>br>Interview with Dana Moser, i>Big, Red and Shiny\/i> (Jan, 2014)br>\nbr>br>\nbr>h2>b>SELECTED WRITING\/b>br>\/h2>hr>\nb>a href\https:\/\/aperture.org\/books\/object-lesson-on-the-influence-of-richard-benson\/\ target\_blank\>Object Lesson: On the Influence of Richard Benson\/a>br>\/b>Aperture, 2022b>br>br>\na href\https:\/\/aperture.org\/new-and-noteworthy\/photowork-forty-photographers-on-process-and-practice\/\ target\_blank\>PhotoWork: Forty Photographers on Process and Practice\/a>br>\/b>One of forty contributions to this book edited by Sasha Wolf. Aperture, 2019br>br>b>a href\Jeff\ rel\history\>100 Words or Less about Jeff\/a>\/b>br>\ni>photograph\/i> magazine br>\nbr>\nb>a href\MyBlankPages\ rel\history\>Review of Michael Schmelling\u2019s My Blank Pages \/a>\/b>br>\ni>photo-eye\/i> (Mar, 2016)br>br>\nb>a href\https:\/\/aperture.org\/books\/educational\/the-photographers-playbook\/\ target\_blank\>The Photographer\u2019s Playbook\/a> \/b>br>A small contribution to this book of assignments edited by Jason Fulford & Gregory Halpern, Aperture, 2014br>br>b>a href\Berber-Uprising\ rel\history\>The Berber Uprising\/a>\/b>br> A short story included in i>Fire in Cairo\/i>, SPBH Editions, 2015br>br>\na href\Teignmouth-Electron\ rel\history\>b>Review of Tacita Dean\u2019s Teignmouth Electron\/b>\n\/a>br>\ni>The Highlights\/i> (Mar, 2008)br>br>\nbr>,content_no_html:BIOMatthew Connors is an artist whose commitment to the medium of photography has been propelled by the revelatory potential of the public sphere. Rooted in specific currents of history, his bodies of work create a new visual encyclopedia of forms, portraits, symbols, and residues that emerge from protest movements, war, and oppressive systems of governance. His lyrical yet methodical approach resonates with political documentary and street photography, but continually challenges and transforms these categories. \n\nHis photographs have been exhibited in museums and galleries worldwide, including the Museum of Modern Art in New York and DOX Centre for Contemporary Art in Prague. His first monograph Fire in Cairo (SPBH Editions, 2015) was awarded the ICP Infinity Award for best artist book in 2016. He has also been awarded the Abigail Cohen Rome Prize, a Headlands Center for the Arts Residency, two MacDowell Colony Fellowships, the Lightwork Artist-in-Residence Fellowship, and the Virginia Center for Creative Arts Fellowship. \n\nConnors earned a BA in English Literature from the University of Chicago and a MFA in Photography from Yale University. He has taught in the Image Text Ithaca MFA Program, the Yale University MFA Program, and in the Photography Department at the Massachusetts College of Art & Design where he has been a professor since 2004. \ue000\ufe0e \ue025\ufe0e \n\nNEWSThe Axe Will Survive the Master Solo exhibition Mar 22 - May 02, 2023Barnes Ogden Center, LSU Baton Rouge, LA\n\n{image 18 scale\90\ no-zoom}\nHeadlands Center for the ArtsArtist in Residence Summer 2022Folk Costumes, Indo-Pacific AirGroup Publicationed. Urtzi Grau & Guillermo Fern\u00e1ndez-AbascalMay 2022\n{image 17 scale\90\ no-zoom}\n\nMassArt Faculty Fellowship 2021 Recipient\n\nObject Lesson Sep 21, 2021 - Jan 08, 2022Group Exhibition at TILT InstitutePhiladelphia, PA\nStates of ChangePrint sale benefit to fight voter suppression in AZ, FL, MI, PA & WI\nContact Sheet 208: Matthew Connors\nGeneral Assembly Exhibition Catalogue\n{image 16 scale\90\ no-zoom}\n\nGeneral AssemblySolo ExhibitionAug 24 to Oct 15, 2020Kathleen O. Ellis Gallery\nLight Work, Syracuse, NY\n\nPartial Reveals & Inclusive Revelations in the Post-Truth Simulacracy: The PoeticsChris Campanioni, The Brooklyn Rail (Jul-Aug, 2020)Au Caire de la R\u00e9volte Alessandro Zuffi, Lib\u00e9ration \u00c9T\u00c9 (Aug 25, 2020)\nThe Time is NowAnti-racism fundraiser organized by Galerie Number 8 and Paper JournalPhotographs for PurposePrint sale to benefit Equal Justice Initiative, Coalition of Immokalee Workers, Southerners on New Ground, and Planned Parenthood\nYES FUTURE\u00c9tudes print sale for Covid-19 relief\n\n{image 15 scale\90\ no-zoom}\n\nHeadlands Center for the Arts\n2020 Residency Recipient\n\nLocal Photographer Reflects on Hong KongTV interview with Liz Neisloss, WGBH Greater Boston (aired Jan 30, 2020)American Photographer Who Covered Hong Kong Protests Denied Entry into City Alvin Lum, South China Morning Post (Jan 4, 2020)\nTear Gas on One Street and Civilians Walking on Another Feature with Karen Cheung and Lau Chi Chung in The California Sunday Magazine (Dec 1, 2019)\n\n{image 14 scale\90\ no-zoom}\nLetters to the EditorWorkshop with Matthew Connors and Curran HatlebergNov 15-17, 2019The Humid, Athens, GA\nFamily Car PoeticsOyster Shucking and Book Signingwith Matthew Connors & Gus PowellSunday, Nov 10, 2019. 12pm - 3pm Galerie Ghezelbash12 Rue Jacob, Paris\n\n{image 13 scale\90\ no-zoom}\nThe Poetics Reading at the New York Art Book Fairwith Lucy Ives\nSaturday, Sep 21, 2019. 3pm\nNYABF Classroom, MoMA PS1\nThe Poetics Book Launch\nNew York Art Book Fair 2019Image Text Ithaca\nTable X08 in Focus: Photography\n\n\n{image 12 scale\90\ no-zoom}\n\nWake Book Launch\nNew York Art Book Fair 2019\nROMAN NVMERALS\nTable O05 in Focus: Photography\n\nPhotoWork: Forty Photographers on Process and Practiceed. Sasha Wolf, Aperture\n{image 11 scale\90\ no-zoom}\n\n\nThe Present Age\nFeature in Closing Ceremony Magazine Issue 02\nMacDowell Colony FellowshipRecipient of a 2019 MacDowell Colony Fellowship\n\nReading and Discussion of The Poeticswith Lucy IvesFriday, Nov 30, 2018. 6pm-8pmPrinted Matter, NYC\nA Hidden Revolution: Inside North Korea\nInterview with Giada De Agostinis in Paper Journal (Jun 2018)\n\n\n\n\n{image 10 scale\90\ no-zoom}\n\n\n\nMoMA\u2019s Human Focus\nRichard Woodward, The Wall Street Journal (Mar 15, 2018)\n\nWhat\u2019s New in Photography? Humanism, MoMA SaysArthur Lubow, The New York Times (Mar 11, 2018)\n\n\n\n\nBeing: New Photography 2018Group Exhibition curated by Lucy GallunMuseum of Modern Art, New YorkMar 18 - Aug 19, 2018\n\n\n{image 9 scale\90\ no-zoom}\n\nOSMOS MagazineFeature of Unanimous Desires in OSMOS Magazine: Issue 14 (Apr, 2018)Studio Visit \u2013 Matthew ConnorsInterview with Giada De Agostinis, Paper Journal (May 2, 2017)\nSELECTED PRESS & TEXTS\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nHong Kong Free Press(Aug, 2023)\nRadio Free AsiaInterview with Gigi Lee(Aug, 2023)\n\nLight Work Exhibtion Video (Sep, 2020)\nPartial Reveals & Inclusive Revelations in the Post-Truth Simulacracy: The Poetics Chris Campanioni, The Brooklyn Rail (Jul-Aug, 2020)\n\n\n\nLocal Photographer Reflects on Hong KongTV interview with Liz Neisloss, WGBH Greater Boston (aired Jan, 2020)\n\n\n\nAmerican Photographer Who Covered Hong Kong Protests Denied Entry into City Alvin Lum, South China \t\t\tMorning Post (Jan, 2020)\nTear Gas on One Street and Civilians Walking on Another Feature with Karen Cheung and Lau Chi Chung in The California Sunday Magazine (Dec, 2019)\n\n\n\n\nWhat Does a Metaphor Rest Upon?Andrianna Campbell, Contact Sheet: Light Work Annual (Summer, 2018)\n\n\n\n\nA Hidden Revolution: Inside North Korea\nInterview with Giada De Agostinis in Paper Journal (Jun, 2018)MoMA\u2019s Human Focus\nRichard Woodward, The Wall Street Journal (Mar, 2018)\n\nWhat\u2019s New in Photography? Humanism, MoMA SaysArthur Lubow, The New York Times (Mar, 2018)\n\n\t\t\t\t\t\tStudio Visit \u2013 Matthew ConnorsInterview with Giada De Agostinis, Paper Journal (May, 2017)Interview with Clara Balaguer and Czar Kristoff \nTUNICA Magazine, Issue No. 5 (Jun, 2016)\n\n\t\t\t\t\t\tCairo\u2019s Crow Black EyeBrad Feuerhelm, American Suburb X (May, 2016)ICP Infinity Award Interview Video (Apr, 2016)\nFrom Occupy Wall Street to the Arab Spring John Otis, The New York Times Lens Blog (Apr, 2016)\nFire in CairoMarco Bohr, Photomonitor (Mar, 2016) A Critical Look at Fire in CairoRonnie Close, Mada Masr Panorama (Feb, 2016)Un Autre Regard sur la Place Tahrir He\u0301le\u0300ne Sallon, Le Magazine du Monde (Jan, 2016)\nFire in Cairo: Revisiting the Revolution in EgyptPaul Moakley, Time Lightbox, (Sep, 2015)\n\n\n\nBooks: How Can Photographers Respond to Landscapes of Conflict and Change?Brian Sholis, frieze, No. 174 (Oct, 2015)Matthew Connors, Fire in CairoMax Houghton, 1000 Words (Oct, 2015)Matthew Connors, Fire in CairoOlga Yatskevich, Collector Daily (Oct, 2015)Book Review: Fire in CairoAdam Bell, photo-eye (Sep, 2015)Photobook Reviews (W36\/2015)Jo\u0308rg M. Coberg, Conscientious Photo Magazine (Sep, 2015)Fire in CairoLucy Davies, British Journal of Photography (Jun, 2015)\nUnsuspending Disbelief: The Subject of PicturesJanina Ciezadlo, afterimage (Jan\/Feb, 2015)\nParticipation, Documentation and the Future of OccupyInterview with Dana Moser, Big, Red and Shiny (Jan, 2014)\n\nSELECTED WRITING\nObject Lesson: On the Influence of Richard BensonAperture, 2022\nPhotoWork: Forty Photographers on Process and PracticeOne of forty contributions to this book edited by Sasha Wolf. Aperture, 2019100 Words or Less about Jeff\nphotograph magazine \n\nReview of Michael Schmelling\u2019s My Blank Pages \nphoto-eye (Mar, 2016)\nThe Photographer\u2019s Playbook A small contribution to this book of assignments edited by Jason Fulford & Gregory Halpern, Aperture, 2014The Berber Uprising A short story included in Fire in Cairo, SPBH Editions, 2015\nReview of Tacita Dean\u2019s Teignmouth Electron\n\nThe Highlights (Mar, 2008)\n,content_partial_html:br>h2>b>BIO\/b>\/h2>hr>Matthew Connors is an artist whose commitment to the medium of photography has been propelled by the revelatory potential of the public sphere. Rooted in specific currents of history, his bodies of work create a new visual encyclopedia of forms, portraits, symbols, and residues that emerge from protest movements, war, and oppressive systems of governance. His lyrical yet methodical approach resonates with political documentary and street photography, but continually challenges and transforms these categories. br>\n\nbr>His photographs have been exhibited in museums and galleries worldwide, including the Museum of Modern Art in New York and DOX Centre for Contemporary Art in Prague. His first monograph i>Fire in Cairo\/i> (SPBH Editions, 2015)i> \/i>was awarded the ICP Infinity Award for best artist book in 2016. He has also been awarded the Abigail Cohen Rome Prize, a Headlands Center for the Arts Residency, two MacDowell Colony Fellowships, the Lightwork Artist-in-Residence Fellowship, and the Virginia Center for Creative Arts Fellowship. br>\n\nbr>Connors earned a BA in English Literature from the University of Chicago and a MFA in Photography from Yale University. He has taught in the Image Text Ithaca MFA Program, the Yale University MFA Program, and in the Photography Department at the Massachusetts College of Art & Design where he has been a professor since 2004. br>br>a href\mailto:info@matthewconnors.com\ class\icon-link\>\ue000\ufe0e\/a> a href\http:\/\/www.instagram.com\/matthewconnors_\/?\ target\_blank\ class\icon-link\>\ue025\ufe0e\/a> \nbr>br>\nbr>br>h2>b>NEWS\/b>\/h2>hr>b>The Axe Will Survive the Master \/b>br>Solo exhibition br>Mar 22 - May 02, 2023br>Barnes Ogden Center, LSU br>Baton Rouge, LAbr>\nbr>\nimg width\588\ height\910\ width_o\588\ height_o\910\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/c0562cc9e3da65ea01ca57a99da9ee3514ca588b473d7b915b393cc44f535ab0\/axe.jpg\ data-mid\209248076\ border\0\ data-scale\90\ data-no-zoom\/>br>\nb>a href\https:\/\/www.headlands.org\/artist\/matthew-connors\/\ target\_blank\>Headlands Center for the Arts\/a>\/b>br>Artist in Residence br>Summer 2022br>br>b>a href\https:\/\/artpapereditions.org\/products\/urtzi-grau-guillermo-fernandez-abascal-folk-costumes-indo-pacific-air\ target\_blank\>Folk Costumes, Indo-Pacific Air\/a>\/b>br>Group Publicationbr>ed. Urtzi Grau & Guillermo Fern\u00e1ndez-Abascalbr>May 2022br>\nbr>img width\485\ height\672\ width_o\485\ height_o\672\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/aae90c870c2a339590661c86ae3ef444f44680c9e9614b2de7fa5eadebc614c5\/Untitled-1.jpg\ data-mid\209248077\ border\0\ data-scale\90\ data-no-zoom\/>br>\nbr>\nb>MassArt Faculty Fellowship \/b>br>2021 Recipientbr>\nbr>\nb>a href\https:\/\/tiltinstitute.org\/event\/object-lesson-the-legacy-of-richard-benson\/\ target\_blank\>Object Lesson \/a>\/b>br>Sep 21, 2021 - Jan 08, 2022br>Group Exhibition at TILT Institutebr>Philadelphia, PAbr>\nb>a href\https:\/\/statesofchange.us\/products\/matthew-connors\ target\_blank\>States of Change\/a>\/b>br>Print sale benefit to fight voter suppression in AZ, FL, MI, PA & WIbr>br>\nb>a href\https:\/\/www.lightwork.org\/product\/contact-sheet-208-matthew-connors\/\ target\_blank\>Contact Sheet 208: Matthew Connors\/a>\/b>\nbr>General Assembly Exhibition Cataloguebr>\nbr>img width\900\ height\1200\ width_o\900\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/931f3555d3d27905e6d58abd129fa39fa3af91dcecb432f6141b5bafbec3b316\/ContactSheet208.jpg\ data-mid\88777528\ border\0\ data-scale\90\ data-no-zoom\/>br>\nbr>\nb>a href\https:\/\/www.lightwork.org\/archive\/matthew-connorsly-general-assembly\/\ target\_blank\>General Assembly\/a>\/b>br>Solo Exhibitionbr>Aug 24 to Oct 15, 2020br>Kathleen O. Ellis Gallery\nLight Work, Syracuse, NYbr>\nbr>\nb>a href\https:\/\/brooklynrail.org\/2020\/07\/books\/Partial-Reveals-Inclusive-Revelations-in-the-Post-Truth-Simulacracy\ target\_blank\>Partial Reveals & Inclusive Revelations in the Post-Truth Simulacracy: i>The Poetics\/i>\/a>\/b>br>Chris Campanioni, i>The Brooklyn Rail \/i>(Jul-Aug, 2020)br>br>b>a href\https:\/\/www.liberation.fr\/photographie\/2020\/08\/25\/au-caire-de-la-revolte_1797268\ target\_blank\>Au Caire de la R\u00e9volte\/a>\/b> br>Alessandro Zuffi, i>Lib\u00e9ration \u00c9T\u00c9\/i> (Aug 25, 2020)br>br>\nb>a href\https:\/\/thetimeisnowfundraiser.com\/artists\/126-matthew-connors\/works\/\ target\_blank\>The Time is Now\/a>\/b>br>Anti-racism fundraiser organized by Galerie Number 8 and Paper Journalbr>br>b>a href\https:\/\/www.photographsforpurpose.com\/about\ target\_blank\>Photographs for Purpose\/a>\/b>br>Print sale to benefit Equal Justice Initiative, Coalition of Immokalee Workers, Southerners on New Ground, and Planned Parenthoodbr>\nbr>b>a href\https:\/\/yesfuture.etudes-studio.com\/product\/matthew-connors\ target\_blank\>YES FUTURE\/a>\/b>br>\u00c9tudes print sale for Covid-19 reliefbr>\nbr>\nimg width\1080\ height\1350\ width_o\1080\ height_o\1350\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/c2c7d4228235c47b185f39940424b253e380451ad7ff75c86ce6225916f8f920\/YES-FUTURE_IG_FEED_76.jpg\ data-mid\88777525\ border\0\ data-scale\90\ data-no-zoom\/>br>\nbr>\nb>a href\http:\/\/www.headlands.org\/artist\/matthew-connors\/\ target\_blank\>Headlands Center for the Arts\/a>\/b>\nbr>2020 Residency Recipientbr>\nbr>\nb>a href\https:\/\/www.wgbh.org\/news\/arts\/2020\/01\/30\/local-photographer-reflects-on-hong-kong\ target\_blank\>Local Photographer Reflects on Hong Kong\/a>br>\/b>TV interview with Liz Neisloss, i>WGBH Greater Boston\/i> (aired Jan 30, 2020)br>br>b>a href\https:\/\/www.scmp.com\/news\/hong-kong\/politics\/article\/3044660\/american-photographer-who-covered-hong-kong-protests-denied\ target\_blank\>American Photographer Who Covered Hong Kong Protests Denied Entry into City\/a>\/b>br> Alvin Lum, i>South China Morning Post \/i>(Jan 4, 2020)br>br>\nb>a href\https:\/\/story.californiasunday.com\/hong-kong-protests-photos\ target\_blank\>Tear Gas on One Street and Civilians Walking on Another\/a>\/b> br>Feature with Karen Cheung and Lau Chi Chung in i>The California Sunday Magazine\/i> (Dec 1, 2019)br>\nbr>\nb>img width\1080\ height\1350\ width_o\1080\ height_o\1350\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/d386c7e2f49f07aac72fdf2e6e676d0a8ba4af115b3a023ccb9e193ba8ff35d0\/Untitled-1.jpg\ data-mid\88777530\ border\0\ data-scale\90\ data-no-zoom\/>\/b>br>\nb>a href\https:\/\/www.thehumid.com\/the-workshop\ target\_blank\>Letters to the Editor\/a>\/b>br>Workshop with Matthew Connors and Curran Hatlebergbr>Nov 15-17, 2019br>The Humid, Athens, GAbr>br>\nb>Family Car Poetics\/b>br>Oyster Shucking and Book Signingbr>with Matthew Connors & Gus Powellbr>Sunday, Nov 10, 2019. 12pm - 3pmbr> Galerie Ghezelbashbr>12 Rue Jacob, Parisbr>\nbr>\nimg width\450\ height\582\ width_o\450\ height_o\582\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/a63f9305a161ae7b191a330177738a6814fc7240b67c9f010375b63220c7e609\/FamilyCarPoetics_Flyer_v4.jpg\ data-mid\88777527\ border\0\ data-scale\90\ data-no-zoom\/>br>\nbr>b>a href\https:\/\/nyabf2019.printedmatterartbookfairs.org\/Saturday-21\ target\_blank\>The Poetics Reading at the New York Art Book Fair\/a>br>\/b>with Lucy Ives\nSaturday, Sep 21, 2019. 3pm\nNYABF Classroom, MoMA PS1br>br>\nb>a href\https:\/\/imagetextithaca.com\/collections\/frontpage\/products\/the-poetics\ target\_blank\>The Poetics Book Launch\/a>\/b>\nbr>New York Art Book Fair 2019br>Image Text Ithaca\nTable X08 in Focus: Photographybr>\nbr>\n\nimg width\960\ height\1200\ width_o\960\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/9011328f28ecbd21929a06254b5a28833bf03c584d1a23b46547861c6f0b2e3f\/ThePoetics2.jpg\ data-mid\88777529\ border\0\ data-scale\90\ data-no-zoom\/>\nbr>\nb>a href\http:\/\/www.romannvmerals.com\/books\/NVII.html\ target\_blank\>Wake Book Launch\/a>\/b>\nbr>New York Art Book Fair 2019\nROMAN NVMERALS\nTable O05 in Focus: Photographybr>\nbr>\nb>a href\https:\/\/aperture.org\/new-and-noteworthy\/photowork-forty-photographers-on-process-and-practice\/\ target\_blank\>PhotoWork: Forty Photographers on Process and Practice\/a>\/b>br>ed. Sasha Wolf, Aperturebr>\nbr>img width\668\ height\503\ width_o\668\ height_o\503\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/f12285acb262ef5245038a067e31f9e7b2209465d5d416159cd7f183c2402ffc\/photowork2.jpg\ data-mid\88777532\ border\0\ data-scale\90\ data-no-zoom\/>br>\n\nbr>\nb>a href\http:\/\/www.samepaper.com\/Issue-02-NEW\ target\_blank\>The Present Age\/a>\/b>\nbr>Feature in Closing Ceremony Magazine Issue 02br>br>\nb>a href\https:\/\/www.macdowell.org\/news\/86-artists-awarded-spring-mac-dowell-fellowships\ target\_blank\>MacDowell Colony Fellowship\/a>\/b>br>Recipient of a 2019 MacDowell Colony Fellowshipbr>\nbr>\nb>a href\https:\/\/www.printedmatter.org\/programs\/events\/759\ target\_blank\>Reading and Discussion of The Poetics\/a>\/b>br>with Lucy Ivesbr>Friday, Nov 30, 2018. 6pm-8pmbr>Printed Matter, NYCbr>br>\nb>a href\https:\/\/paper-journal.com\/shop\/paper-journal-01\/\ target\_blank\>A Hidden Revolution: Inside North Korea\/a>\/b>\nbr>Interview with Giada De Agostinis in Paper Journal (Jun 2018)br>\nbr>\n\n\n\nimg width\566\ height\755\ width_o\566\ height_o\755\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/2994c5ebb78fd01294f2589274cb917dcc5d13778ba633b265595f3f354bb4d0\/tumblr_p6f47tmUdT1tofoizo1_640.png\ data-mid\88777531\ border\0\ data-scale\90\ data-no-zoom\/>br>\n\n\n\nbr>b>a href\https:\/\/www.wsj.com\/articles\/momas-human-focus-1521064112\ target\_blank\>MoMA\u2019s Human Focus\/a>\/b>\nbr>Richard Woodward, i>The Wall Street Journal\/i> (Mar 15, 2018)br>\nbr>\nb>a href\https:\/\/www.nytimes.com\/2018\/03\/09\/arts\/design\/museum-of-modern-art-being-new-photography.html\ target\_blank\>What\u2019s New in Photography? Humanism, MoMA Says\/a>\/b>br>Arthur Lubow, i>The New York Times \/i>(Mar 11, 2018)br>br>\n\n\n\n\nb>a href\https:\/\/www.moma.org\/calendar\/exhibitions\/3886\ target\_blank\>Being: New Photography 2018\/a>\/b>br>Group Exhibition br>curated by Lucy Gallunbr>Museum of Modern Art, New Yorkbr>Mar 18 - Aug 19, 2018br>\nbr>\n\nimg width\880\ height\1200\ width_o\880\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/935d066d61ead66bf58589e3e0aa515101a98f642398aeb3ab3dbdac9143339d\/18SP_00005.jpg\ data-mid\88777526\ border\0\ data-scale\90\ data-no-zoom\/>br>\nbr>\nb>a href\https:\/\/www.artbook.com\/9780990698012.html\ target\_blank\>OSMOS Magazine\/a>\/b>br>Feature of Unanimous Desires in OSMOS Magazine: Issue 14 (Apr, 2018)br>br>b>a href\https:\/\/paper-journal.com\/studio-visit-matthew-connors\/\ target\_blank\>Studio Visit \u2013 Matthew Connors\/a>\/b>br>Interview with Giada De Agostinis, i>Paper Journal\/i> (May 2, 2017)br>br>\nbr>br>h2>b>SELECTED PRESS & TEXTS\/b>\/h2>hr>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nb>a href\https:\/\/hongkongfp.com\/2023\/08\/29\/us-photography-professor-who-covered-2019-protests-says-hong-kong-denied-him-entry-suspects-he-is-on-a-list\/\ target\_blank\>Hong Kong Free Press\/a>\/b>br>(Aug, 2023)b>br>br>\na href\https:\/\/www.rfa.org\/english\/news\/china\/hongkong-interview-photographer-08292023170220.html\ target\_blank\>Radio Free Asia\/a>br>\/b>Interview with Gigi Leebr>(Aug, 2023)br>\nbr>\nb>a href\https:\/\/www.lightwork.org\/archive\/matthew-connorsly-general-assembly\/\ target\_blank\>Light Work Exhibtion Video\/a>\/b> br>(Sep, 2020)br>br>\nb>a href\https:\/\/brooklynrail.org\/2020\/07\/books\/Partial-Reveals-Inclusive-Revelations-in-the-Post-Truth-Simulacracy\ target\_blank\>Partial Reveals & Inclusive Revelations in the Post-Truth Simulacracy: i>The Poetics\/i>\/a>\/b>br> Chris Campanioni, i>The Brooklyn Rail \/i>(Jul-Aug, 2020)br>\n\n\n\nbr>b>a href\https:\/\/www.wgbh.org\/news\/arts\/2020\/01\/30\/local-photographer-reflects-on-hong-kong\ target\_blank\>Local Photographer Reflects on Hong Kong\/a>br>\/b>TV interview with Liz Neisloss, i>WGBH Greater Boston\/i> (aired Jan, 2020)br>\n\n\n\nbr>b>a href\https:\/\/www.scmp.com\/news\/hong-kong\/politics\/article\/3044660\/american-photographer-who-covered-hong-kong-protests-denied\ target\_blank\>American Photographer Who Covered Hong Kong Protests Denied Entry into City\/a>\/b>br> Alvin Lum, i>South China \t\t\tMorning Post \/i>(Jan, 2020)br>\nbr>b>a href\https:\/\/story.californiasunday.com\/hong-kong-protests-photos\ target\_blank\>Tear Gas on One Street and Civilians Walking on Another\/a>\/b> br>Feature with Karen Cheung and Lau Chi Chung in i>The California Sunday Magazine\/i> (Dec, 2019)br>\n\n\n\n\nbr>b>a href\What-Does-a-Metaphor-Rest-Upon\ rel\history\>What Does a Metaphor Rest Upon?\/a>\/b>br>Andrianna Campbell, i>Contact Sheet: Light Work Annual \/i>(Summer, 2018)br>\n\n\n\nbr>\nb>A Hidden Revolution: Inside North Korea\/b>\nbr>Interview with Giada De Agostinis in i>Paper Journal\/i> (Jun, 2018)br>br>b>a href\https:\/\/www.wsj.com\/articles\/momas-human-focus-1521064112\ target\_blank\>MoMA\u2019s Human Focus\/a>\/b>\nbr>Richard Woodward, i>The Wall Street Journal\/i> (Mar, 2018)br>\nbr>\nb>a href\https:\/\/www.nytimes.com\/2018\/03\/09\/arts\/design\/museum-of-modern-art-being-new-photography.html\ target\_blank\>What\u2019s New in Photography? Humanism, MoMA Says\/a>\/b>br>Arthur Lubow, i>The New York Times \/i>(Mar, 2018)br>\n\n\t\t\t\t\t\tbr>b>a href\https:\/\/paper-journal.com\/studio-visit-matthew-connors\/\ target\_blank\>Studio Visit \u2013 Matthew Connors\/a>\/b>br>Interview with Giada De Agostinis, i>Paper Journal\/i> (May, 2017)br>br>b>a href\https:\/\/tunicastudio.com\/matthew-connors\/\>Interview with Clara Balaguer and Czar Kristoff \/a>\/b>br>\ni>TUNICA Magazine\/i>, Issue No. 5 (Jun, 2016)br>\n\n\t\t\t\t\t\tbr>b>a href\https:\/\/americansuburbx.com\/2016\/05\/matthew-connors-cairos-crow-black-eye.html\>Cairo\u2019s Crow Black Eye\/a>\/b>br>Brad Feuerhelm, i>American Suburb X\/i> (May, 2016)br>br>b>a href\https:\/\/www.icp.org\/infinity-awards\/matthew%E2%80%93connors\>ICP Infinity Award Interview Video \/a>\/b>br>(Apr, 2016)br>\nbr>b>a href\https:\/\/lens.blogs.nytimes.com\/2016\/04\/06\/from-occupy-wall-street-to-the-arab-spring\/\>From Occupy Wall Street to the Arab Spring\/a>\/b> br>John Otis, i>The\/i> i>New York Times Lens Blog\/i> (Apr, 2016)br>\nbr>b>a href\https:\/\/photomonitor.co.uk\/book\/fire-in-cairo\/\>Fire in Cairo\/a>\/b>br>Marco Bohr, i>Photomonitor\/i> (Mar, 2016) br>br>b>a href\https:\/\/www.madamasr.com\/en\/2016\/02\/27\/panorama\/u\/a-critical-look-at-fire-in-cairo\/\ target\_blank\>A Critical Look at Fire in Cairo\/a>\/b>br>Ronnie Close, i>Mada Masr Panorama\/i> (Feb, 2016)br>br>b>a href\https:\/\/www.lemonde.fr\/m-actu\/article\/2016\/01\/19\/un-autre-regard-sur-la-place-tahrir_4849958_4497186.html#meter_toaster\ target\_blank\>Un Autre Regard sur la Place Tahrir \/a>\/b>br>He\u0301le\u0300ne Sallon, i>Le Magazine du Monde\/i> (Jan, 2016)br>br>\nb>a href\https:\/\/time.com\/4050829\/fire-in-cairo-revisiting-the-revolution-in-egypt\/\ target\_blank\>Fire in Cairo: Revisiting the Revolution in Egypt\/a>\/b>br>Paul Moakley, i>Time Lightbox, (\/i>Sep, 2015)br>\n\n\n\nbr>b>a href\frieze-books\ rel\history\>Books: How Can Photographers Respond to Landscapes of Conflict and Change?\/a>\/b>br>Brian Sholis, i>frieze\/i>, No. 174 (Oct, 2015)br>br>b>a href\https:\/\/www.1000wordsmag.com\/matthew-connors\/\ target\_blank\>Matthew Connors, Fire in Cairo\/a>\/b>br>Max Houghton, i>1000 Words \/i>(Oct, 2015)br>br>b>a href\https:\/\/collectordaily.com\/matthew-connors-fire-in-cairo\/\ target\_blank\>Matthew Connors, Fire in Cairo\/a>\/b>br>Olga Yatskevich, i>Collector Daily\/i> (Oct, 2015)br>br>b>a href\https:\/\/blog.photoeye.com\/2015\/09\/book-review-fire-in-cairo.html\ target\_blank\>Book Review: Fire in Cairo\/a>\/b>br>Adam Bell, i>photo-eye \/i>(Sep, 2015)br>br>b>a href\https:\/\/cphmag.com\/reviews-w362015\/\ target\_blank\>Photobook Reviews (W36\/2015)\/a>\/b>br>Jo\u0308rg M. Coberg, i>Conscientious Photo Magazine\/i> (Sep, 2015)br>br>b>a href\BJP-Fire-in-Cairo\ rel\history\>Fire in Cairo\/a>\/b>br>Lucy Davies, i>British Journal of Photography\/i> (Jun, 2015)br>br>\nb>a href\unsuspending-disbelief\ rel\history\>Unsuspending Disbelief: The Subject of Pictures\/a>\/b>br>Janina Ciezadlo, i>afterimage\/i> (Jan\/Feb, 2015)br>\nbr>b>a href\https:\/\/bigredandshiny.org\/1465\/participation-documentation-and-the-future-of-occupy\/\ target\_blank\>Participation, Documentation and the Future of Occupy\/a>\/b>br>Interview with Dana Moser, i>Big, Red and Shiny\/i> (Jan, 2014)br>\nbr>br>\nbr>h2>b>SELECTED WRITING\/b>br>\/h2>hr>\nb>a href\https:\/\/aperture.org\/books\/object-lesson-on-the-influence-of-richard-benson\/\ target\_blank\>Object Lesson: On the Influence of Richard Benson\/a>br>\/b>Aperture, 2022b>br>br>\na href\https:\/\/aperture.org\/new-and-noteworthy\/photowork-forty-photographers-on-process-and-practice\/\ target\_blank\>PhotoWork: Forty Photographers on Process and Practice\/a>br>\/b>One of forty contributions to this book edited by Sasha Wolf. Aperture, 2019br>br>b>a href\Jeff\ rel\history\>100 Words or Less about Jeff\/a>\/b>br>\ni>photograph\/i> magazine br>\nbr>\nb>a href\MyBlankPages\ rel\history\>Review of Michael Schmelling\u2019s My Blank Pages \/a>\/b>br>\ni>photo-eye\/i> (Mar, 2016)br>br>\nb>a href\https:\/\/aperture.org\/books\/educational\/the-photographers-playbook\/\ target\_blank\>The Photographer\u2019s Playbook\/a> \/b>br>A small contribution to this book of assignments edited by Jason Fulford & Gregory Halpern, Aperture, 2014br>br>b>a href\Berber-Uprising\ rel\history\>The Berber Uprising\/a>\/b>br> A short story included in i>Fire in Cairo\/i>, SPBH Editions, 2015br>br>\na href\Teignmouth-Electron\ rel\history\>b>Review of Tacita Dean\u2019s Teignmouth Electron\/b>\n\/a>br>\ni>The Highlights\/i> (Mar, 2008)br>br>\nbr>,thumb:88777524,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:88777524,project_id:16297273,image_ref:{image 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10},name:sholis_books_frieze_oct2015-from-library-2.jpg,hash:7b77081c2d972ce7cb3103b974e49e7ea14b612a7c8f503e0ce49f816ddb040d,width:1098,height:1500,sort:0,exclude_from_backdrop:false,date_added:1604198852},backdrop:null},{id:16051255,site_id:868680,project_url:frieze-books-text,direct_link:https:\/\/matthewconnors.com\/frieze-books-text,type:page,title:frieze books text,title_no_html:frieze books text,tags:,display:false,pin:true,pin_options:{position:top,overlay:true,fixed:true,exclude_mobile:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:Books: How can photographers respond to landscapes\nof conflict and change?\n\nBrian Sholis\n\nfrieze, No. 174\u00a0(Oct, 2015)\n\n\n\nLandscapes are never static.\nHow can...,content:br>br>br>\nb>Books: How can photographers respond to landscapes\nof conflict and change?\/b>br>\nBrian Sholisbr>\ni>frieze, \/i>No. 174 (Oct, 2015)br>\nbr>\nLandscapes are never static.\nHow can their dynamism, and\nthe forces that shape them, be\ncaptured in still photographs?\nW hat balance of artistic licence\nand \u2018documentary\u2019fidelity best\nencapsulates the essence of a given place? How much written\nexplanation is necessary as an\naccompaniment? Are these ques\u00ad\ntions more difficult to answer\nwhen a place is facing environmen\u00ad\ntal or political distress? Or if it is resolutely foreign to the photo\u00ad\ngrapher? And how does choosing\nto photograph such places affect\nthose sites in turn? Several recent\nphotobooks bring these elementary\nyet persistent questions to mind,\nand the choices made in each case\nsuggest different routes through\na tricky terrain.br>\n\n\t\t\t\t\tbr>\nBoston- and Brooklyn-based\nartist Matthew Connors made the photographs in his new book,\nFire in Cairo (2015), during the first six months of 2013. The\nadoption of the 2012 Egyptian\nConstitution and the summertime\nousting of president Mohamed\nMorsi bookended this tumultuous\nperiod, and his pictures depic a city shredded by antagonism. Fire in Cairo\u2019s opening images\nseem deliberately ambiguous. Is\nthe atmosphere festive or calam\u00ad\nitous? Without context, we\u2019re\nunsure if the green lights we see\nare in a nightclub or are created\nby a gun\u2019s laser sight, or whether\nthe haze is from smoke machines\nor bombs. The first figure we\nencounter wears a reflective mask\nand a hood with colourful trim,\nlike a disco Darth Vader. The\nambiguity falls away quickly,\nhowever, and more than half of\nthe book plunges viewers directly\ninto the conflict. Buildings and\ncars are torched, graffiti covers\nthe walls, smoke lingers in the air\nand helicopters loiter overhead.\nTellingly, people mask their faces.br>\n\n\t\t\t\t\tbr>\nThree-quarters ofthe way\nthrough the photographs, however,\nConnors inserts two pictures of\nfire that seem to erupt from a dark\nvoid. Fire is destructive, but it can also be cleansing, and after\nthese images come portraits of\n19 seemingly ordinary citizens.\nHere, Connors switches to black\nand white, and the background\nrecedes as his subjects remove\ntheir masks and stare placidly into\nthe lens. The images are remi\u00ad\nniscent ofthe hundreds he made\nfor GeneralAssembly (2011-12),\nhis ambitious catalogue ofOccupy\nWall Street protestors. But,\nimportantly, each spread features\nnot one but two nearly identical\nportraits. They seem sequential,\nas if Connors had captured them\nwith something akin to the\ncamera\u2019s (aptly named) \u2018burst\nmode\u2019. The gesture inserts his\nsubjects back into the flow oftime,\nsuggesting, perhaps, that their\nlives will not be arrested by a single\nmoment of violence. The implied\ncontinuity augurs hope.br>\n\n\t\t\t\t\tbr>\nBirds in flight are another\nsymbol of hope, and a picture of\nthem against a blue sky connects\nFire in Cairo to Nothing (2014),\nJohn Gossage\u2019s very different\nbook of pictures from the Middle\nEast. Gossage\u2019s birds circle above\nSaudi Arabia: he was extended\nan open invitation to photograph\nthem for a month in the early\n1980s. Thirty years later, his\npictures take elegant form in this three-part volume. Gossage,\nan avid maker and collector of\nphotobooks, has crafted a cloth-\nbound double-fold structure that\nencases two 32-page booklets\nand a two-metre-long foldout.br>\n\n\t\t\t\t\tbr>\nWhereas Connors\u2019s book\ncontains a short story written\nby the artist, Gossage\u2019s includes\nonly four sentences of text. The\nartist announces he wants to\nventure into the desert and is told\nby Prince Abdullah: \u2018You know,\nthere is nothing out there.\u2019 The\nbook\u2019s 24-image foldout, a pano\u00ad\nramic view of a barren desert\nlandscape, suggests the gran\u00ad\ndeur of that \u2018nothing\u2019. But, of\ncourse, there is much to behold,\nand Gossage finds much to\nsavour. A rubbish-strewn pilebr>of dirt, sprinkled with rotting fruits, has a pattern-like all-over\ncomposition. Arabic graffiti in\nblack spray paint on a rocky hill\u00ad\nside is a masterclass in depicting\ntexture. Paths or doorways lead one\u2019s eyes deep into some\npictures, while great stone edifices\nblock the view into others. The\nsequencing, especially in the first\nbooklet, emphasizes composi\u00ad\ntional variety and visual pleasure\nmore than any particular narra\u00ad\ntive, though it\u2019s apparent that\nGossage is circumnavigating the edges of a town or city. The\nsecond booklet is more explicitly \u2018political\u2019in its subject matter.\nHere we see the artist\u2019s visa, a torn\ncardboard box stamped \u2018MADE IN U.S.A.\u2019, barbed wire, oil barrels\nand, in addition to those birds in flight, a Saudi man in a tradi\u00ad\ntional thobe grasping the wings of\na white, dove-like bird. Given the\nacknowledged brevity of Gossage\u2019s\nvisit, and the distance between\nwhat he knows and what he\u2019s\nphotographing, I prefer the more\nequivocal of the two selections. In its near-total anonymity, the first booklet creates space for\nviewers to look carefully and make\ndeductions; its openness to inter\u00ad\npretation is more closely aligned\nwith Gossage\u2019sbestwork. But\nboth booklets showcase his ability\nto transform quotidian scenes into\nexciting photographs.br>br>\nThe desert is slowlyreclaiming\nthe temporary shelters, animal\npens and other man-made struc\ntures in Gossage\u2019s Saudi Arabia.\nThe entropy depicted in Michael\nAshkin\u2019s book Long Branch (2014)\nis more dramatic. In 2002, while\ndriving through the eponymous\nJersey Shore town, Ashkin noticed\nthat \u2018everything was too quietbr>and desolate\u2019. He had stumbled\ninto a zone cleared for redevelop\nment through \u2018eminent domain\u2019, or\ncompulsory purchase. Returning\nrepeatedly over the next five years,\nAshkin documented middle-class\ncondos replacing the low-slung\nhouses and shops that had catered\nto longtime working-class resi\ndents. That community appearsbr>to have already vacated the\npremises: the vertically oriented\npictures are unpopulated,\nsuggesting that vast and imper\nsonal forces are effecting this\nchange. And the speed ofthe\ntransformation is apparent from\nthe number ofimages including old\nbungalows and new developments\nside by side. Though shootin on the beachside, Ashkin seems to\nhave worked on days with grey,\neven light. \u2018It seemed to me what\nwas ghost-like was less a thing\nthan a space within the photo,\u2019the\nphotographer has said, and she cropped his images to focus on\nthat space. Each picture is a tomb\nstone whose surface is carved by a haunting absence. It is an apt\nmetaphor for the other absences\nAshkin attempts to evoke: of\nempathy with evicted families, say,\nor of restraints on capitalism\u2019s\n\u2018creative destruction\u2019.br>\n\n\t\t\t\t\tbr>\nThere is little text in Long\nBranch, and what appears has\nbeen gathered from disparate\nsources. (In this sense, the publi\ncation connects to Paul Strand and\nNancy Newhall\u2019s classic photo\nbook, Time in New England, 1950.)\nExcerpts from newspaper arti\ncles, letters to the editor, online\ndiscussion forums and real-estate\nmarketing websites appear in the\ncentre of the book as an unstruc\ntured collage. It\u2019s as if thes words are an eruption ofthe barely\nsuppressed human struggle hidden just beyond or behind\nAshkin\u2019sphotographs.br>\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tbr>\nThe complexity of the place is evoked in the number of\ndistinct voices the text includes\n\u2014an approach that also struc\ntures Expedition Svalbard: Lost\nViews on the Shorelines o fEconomy\n(2015). The result of a project\nfunded by the art department at the University of Gothenburg,\nthe book presents the obser\nvations of artists, writers and\nscientists who travelled together,\nin 2011, to the Arctic archipelago\nat the forefront of observable\nclimate change. Here, the images\u2019\ntonal consistency - the end ofthe\nworld is grey and blue \u2014contrasts\nwith the participants\u2019disparate\nresponses. Sophie Calle\u2019s poem\nand single penumbral image abut\nPer Holmlund\u2019s comparative\nstudy of historical and contem\nporary photographs to assess\n\u2018Glaciers of Northern Svalbard in a Global Change Context\u2019. The\ntitle ofJoan Fontcuberta\u2019s photo\nessay proposes that ice itself has\nmemories, while Rebecca Solnit\u2019s\n\u2018cyclopedia\u2019gives an impres\nsionistic account not only ofthe\nlandscape but also the ship and its passengers. Her writing is at\nonce elliptical and aphoristically\nsharp. Hans Hedberg, like Solnit,\nresorts to textual fragments,\nunderscoring how difficult it is to\ncraft narratives in a place of such\nextremes. The artists and writers\ngreatly outnumber the academics;\nthis is not a book that will end up in every glaciologist\u2019s study.\nThat said, the expedition hints at a truly interdisciplinary way of\nresponding to place that contrasts\nwith the first-person, and some\ntimes visceral, accounts logged\nby Ashkin, Connors and Gossage.\nEach approach is valid and neces\nsary, but none alone is sufficien - especially in places undergoing\nrapid transition. Just as our\nbrains construct three-dimen\nsional and sensorial worlds from\nmultiple inputs, we need expo\nsure to a variety of struggles, seen\nkaleidoscopically, to comprehend\nspecific places. W ithout that, how\ncan we orient ourselves?br>,content_no_html:\nBooks: How can photographers respond to landscapes\nof conflict and change?\nBrian Sholis\nfrieze, No. 174 (Oct, 2015)\n\nLandscapes are never static.\nHow can their dynamism, and\nthe forces that shape them, be\ncaptured in still photographs?\nW hat balance of artistic licence\nand \u2018documentary\u2019fidelity best\nencapsulates the essence of a given place? How much written\nexplanation is necessary as an\naccompaniment? Are these ques\u00ad\ntions more difficult to answer\nwhen a place is facing environmen\u00ad\ntal or political distress? Or if it is resolutely foreign to the photo\u00ad\ngrapher? And how does choosing\nto photograph such places affect\nthose sites in turn? Several recent\nphotobooks bring these elementary\nyet persistent questions to mind,\nand the choices made in each case\nsuggest different routes through\na tricky terrain.\n\n\t\t\t\t\t\nBoston- and Brooklyn-based\nartist Matthew Connors made the photographs in his new book,\nFire in Cairo (2015), during the first six months of 2013. The\nadoption of the 2012 Egyptian\nConstitution and the summertime\nousting of president Mohamed\nMorsi bookended this tumultuous\nperiod, and his pictures depic a city shredded by antagonism. Fire in Cairo\u2019s opening images\nseem deliberately ambiguous. Is\nthe atmosphere festive or calam\u00ad\nitous? Without context, we\u2019re\nunsure if the green lights we see\nare in a nightclub or are created\nby a gun\u2019s laser sight, or whether\nthe haze is from smoke machines\nor bombs. The first figure we\nencounter wears a reflective mask\nand a hood with colourful trim,\nlike a disco Darth Vader. The\nambiguity falls away quickly,\nhowever, and more than half of\nthe book plunges viewers directly\ninto the conflict. Buildings and\ncars are torched, graffiti covers\nthe walls, smoke lingers in the air\nand helicopters loiter overhead.\nTellingly, people mask their faces.\n\n\t\t\t\t\t\nThree-quarters ofthe way\nthrough the photographs, however,\nConnors inserts two pictures of\nfire that seem to erupt from a dark\nvoid. Fire is destructive, but it can also be cleansing, and after\nthese images come portraits of\n19 seemingly ordinary citizens.\nHere, Connors switches to black\nand white, and the background\nrecedes as his subjects remove\ntheir masks and stare placidly into\nthe lens. The images are remi\u00ad\nniscent ofthe hundreds he made\nfor GeneralAssembly (2011-12),\nhis ambitious catalogue ofOccupy\nWall Street protestors. But,\nimportantly, each spread features\nnot one but two nearly identical\nportraits. They seem sequential,\nas if Connors had captured them\nwith something akin to the\ncamera\u2019s (aptly named) \u2018burst\nmode\u2019. The gesture inserts his\nsubjects back into the flow oftime,\nsuggesting, perhaps, that their\nlives will not be arrested by a single\nmoment of violence. The implied\ncontinuity augurs hope.\n\n\t\t\t\t\t\nBirds in flight are another\nsymbol of hope, and a picture of\nthem against a blue sky connects\nFire in Cairo to Nothing (2014),\nJohn Gossage\u2019s very different\nbook of pictures from the Middle\nEast. Gossage\u2019s birds circle above\nSaudi Arabia: he was extended\nan open invitation to photograph\nthem for a month in the early\n1980s. Thirty years later, his\npictures take elegant form in this three-part volume. Gossage,\nan avid maker and collector of\nphotobooks, has crafted a cloth-\nbound double-fold structure that\nencases two 32-page booklets\nand a two-metre-long foldout.\n\n\t\t\t\t\t\nWhereas Connors\u2019s book\ncontains a short story written\nby the artist, Gossage\u2019s includes\nonly four sentences of text. The\nartist announces he wants to\nventure into the desert and is told\nby Prince Abdullah: \u2018You know,\nthere is nothing out there.\u2019 The\nbook\u2019s 24-image foldout, a pano\u00ad\nramic view of a barren desert\nlandscape, suggests the gran\u00ad\ndeur of that \u2018nothing\u2019. But, of\ncourse, there is much to behold,\nand Gossage finds much to\nsavour. A rubbish-strewn pileof dirt, sprinkled with rotting fruits, has a pattern-like all-over\ncomposition. Arabic graffiti in\nblack spray paint on a rocky hill\u00ad\nside is a masterclass in depicting\ntexture. Paths or doorways lead one\u2019s eyes deep into some\npictures, while great stone edifices\nblock the view into others. The\nsequencing, especially in the first\nbooklet, emphasizes composi\u00ad\ntional variety and visual pleasure\nmore than any particular narra\u00ad\ntive, though it\u2019s apparent that\nGossage is circumnavigating the edges of a town or city. The\nsecond booklet is more explicitly \u2018political\u2019in its subject matter.\nHere we see the artist\u2019s visa, a torn\ncardboard box stamped \u2018MADE IN U.S.A.\u2019, barbed wire, oil barrels\nand, in addition to those birds in flight, a Saudi man in a tradi\u00ad\ntional thobe grasping the wings of\na white, dove-like bird. Given the\nacknowledged brevity of Gossage\u2019s\nvisit, and the distance between\nwhat he knows and what he\u2019s\nphotographing, I prefer the more\nequivocal of the two selections. In its near-total anonymity, the first booklet creates space for\nviewers to look carefully and make\ndeductions; its openness to inter\u00ad\npretation is more closely aligned\nwith Gossage\u2019sbestwork. But\nboth booklets showcase his ability\nto transform quotidian scenes into\nexciting photographs.\nThe desert is slowlyreclaiming\nthe temporary shelters, animal\npens and other man-made struc\ntures in Gossage\u2019s Saudi Arabia.\nThe entropy depicted in Michael\nAshkin\u2019s book Long Branch (2014)\nis more dramatic. In 2002, while\ndriving through the eponymous\nJersey Shore town, Ashkin noticed\nthat \u2018everything was too quietand desolate\u2019. He had stumbled\ninto a zone cleared for redevelop\nment through \u2018eminent domain\u2019, or\ncompulsory purchase. Returning\nrepeatedly over the next five years,\nAshkin documented middle-class\ncondos replacing the low-slung\nhouses and shops that had catered\nto longtime working-class resi\ndents. That community appearsto have already vacated the\npremises: the vertically oriented\npictures are unpopulated,\nsuggesting that vast and imper\nsonal forces are effecting this\nchange. And the speed ofthe\ntransformation is apparent from\nthe number ofimages including old\nbungalows and new developments\nside by side. Though shootin on the beachside, Ashkin seems to\nhave worked on days with grey,\neven light. \u2018It seemed to me what\nwas ghost-like was less a thing\nthan a space within the photo,\u2019the\nphotographer has said, and she cropped his images to focus on\nthat space. Each picture is a tomb\nstone whose surface is carved by a haunting absence. It is an apt\nmetaphor for the other absences\nAshkin attempts to evoke: of\nempathy with evicted families, say,\nor of restraints on capitalism\u2019s\n\u2018creative destruction\u2019.\n\n\t\t\t\t\t\nThere is little text in Long\nBranch, and what appears has\nbeen gathered from disparate\nsources. (In this sense, the publi\ncation connects to Paul Strand and\nNancy Newhall\u2019s classic photo\nbook, Time in New England, 1950.)\nExcerpts from newspaper arti\ncles, letters to the editor, online\ndiscussion forums and real-estate\nmarketing websites appear in the\ncentre of the book as an unstruc\ntured collage. It\u2019s as if thes words are an eruption ofthe barely\nsuppressed human struggle hidden just beyond or behind\nAshkin\u2019sphotographs.\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\nThe complexity of the place is evoked in the number of\ndistinct voices the text includes\n\u2014an approach that also struc\ntures Expedition Svalbard: Lost\nViews on the Shorelines o fEconomy\n(2015). The result of a project\nfunded by the art department at the University of Gothenburg,\nthe book presents the obser\nvations of artists, writers and\nscientists who travelled together,\nin 2011, to the Arctic archipelago\nat the forefront of observable\nclimate change. Here, the images\u2019\ntonal consistency - the end ofthe\nworld is grey and blue \u2014contrasts\nwith the participants\u2019disparate\nresponses. Sophie Calle\u2019s poem\nand single penumbral image abut\nPer Holmlund\u2019s comparative\nstudy of historical and contem\nporary photographs to assess\n\u2018Glaciers of Northern Svalbard in a Global Change Context\u2019. The\ntitle ofJoan Fontcuberta\u2019s photo\nessay proposes that ice itself has\nmemories, while Rebecca Solnit\u2019s\n\u2018cyclopedia\u2019gives an impres\nsionistic account not only ofthe\nlandscape but also the ship and its passengers. Her writing is at\nonce elliptical and aphoristically\nsharp. Hans Hedberg, like Solnit,\nresorts to textual fragments,\nunderscoring how difficult it is to\ncraft narratives in a place of such\nextremes. The artists and writers\ngreatly outnumber the academics;\nthis is not a book that will end up in every glaciologist\u2019s study.\nThat said, the expedition hints at a truly interdisciplinary way of\nresponding to place that contrasts\nwith the first-person, and some\ntimes visceral, accounts logged\nby Ashkin, Connors and Gossage.\nEach approach is valid and neces\nsary, but none alone is sufficien - especially in places undergoing\nrapid transition. Just as our\nbrains construct three-dimen\nsional and sensorial worlds from\nmultiple inputs, we need expo\nsure to a variety of struggles, seen\nkaleidoscopically, to comprehend\nspecific places. W ithout that, how\ncan we orient ourselves?,content_partial_html:br>br>br>\nb>Books: How can photographers respond to landscapes\nof conflict and change?\/b>br>\nBrian Sholisbr>\ni>frieze, \/i>No. 174 (Oct, 2015)br>\nbr>\nLandscapes are never static.\nHow can their dynamism, and\nthe forces that shape them, be\ncaptured in still photographs?\nW hat balance of artistic licence\nand \u2018documentary\u2019fidelity best\nencapsulates the essence of a given place? How much written\nexplanation is necessary as an\naccompaniment? Are these ques\u00ad\ntions more difficult to answer\nwhen a place is facing environmen\u00ad\ntal or political distress? Or if it is resolutely foreign to the photo\u00ad\ngrapher? And how does choosing\nto photograph such places affect\nthose sites in turn? Several recent\nphotobooks bring these elementary\nyet persistent questions to mind,\nand the choices made in each case\nsuggest different routes through\na tricky terrain.br>\n\n\t\t\t\t\tbr>\nBoston- and Brooklyn-based\nartist Matthew Connors made the photographs in his new book,\nFire in Cairo (2015), during the first six months of 2013. The\nadoption of the 2012 Egyptian\nConstitution and the summertime\nousting of president Mohamed\nMorsi bookended this tumultuous\nperiod, and his pictures depic a city shredded by antagonism. Fire in Cairo\u2019s opening images\nseem deliberately ambiguous. Is\nthe atmosphere festive or calam\u00ad\nitous? Without context, we\u2019re\nunsure if the green lights we see\nare in a nightclub or are created\nby a gun\u2019s laser sight, or whether\nthe haze is from smoke machines\nor bombs. The first figure we\nencounter wears a reflective mask\nand a hood with colourful trim,\nlike a disco Darth Vader. The\nambiguity falls away quickly,\nhowever, and more than half of\nthe book plunges viewers directly\ninto the conflict. Buildings and\ncars are torched, graffiti covers\nthe walls, smoke lingers in the air\nand helicopters loiter overhead.\nTellingly, people mask their faces.br>\n\n\t\t\t\t\tbr>\nThree-quarters ofthe way\nthrough the photographs, however,\nConnors inserts two pictures of\nfire that seem to erupt from a dark\nvoid. Fire is destructive, but it can also be cleansing, and after\nthese images come portraits of\n19 seemingly ordinary citizens.\nHere, Connors switches to black\nand white, and the background\nrecedes as his subjects remove\ntheir masks and stare placidly into\nthe lens. The images are remi\u00ad\nniscent ofthe hundreds he made\nfor GeneralAssembly (2011-12),\nhis ambitious catalogue ofOccupy\nWall Street protestors. But,\nimportantly, each spread features\nnot one but two nearly identical\nportraits. They seem sequential,\nas if Connors had captured them\nwith something akin to the\ncamera\u2019s (aptly named) \u2018burst\nmode\u2019. The gesture inserts his\nsubjects back into the flow oftime,\nsuggesting, perhaps, that their\nlives will not be arrested by a single\nmoment of violence. The implied\ncontinuity augurs hope.br>\n\n\t\t\t\t\tbr>\nBirds in flight are another\nsymbol of hope, and a picture of\nthem against a blue sky connects\nFire in Cairo to Nothing (2014),\nJohn Gossage\u2019s very different\nbook of pictures from the Middle\nEast. Gossage\u2019s birds circle above\nSaudi Arabia: he was extended\nan open invitation to photograph\nthem for a month in the early\n1980s. Thirty years later, his\npictures take elegant form in this three-part volume. Gossage,\nan avid maker and collector of\nphotobooks, has crafted a cloth-\nbound double-fold structure that\nencases two 32-page booklets\nand a two-metre-long foldout.br>\n\n\t\t\t\t\tbr>\nWhereas Connors\u2019s book\ncontains a short story written\nby the artist, Gossage\u2019s includes\nonly four sentences of text. The\nartist announces he wants to\nventure into the desert and is told\nby Prince Abdullah: \u2018You know,\nthere is nothing out there.\u2019 The\nbook\u2019s 24-image foldout, a pano\u00ad\nramic view of a barren desert\nlandscape, suggests the gran\u00ad\ndeur of that \u2018nothing\u2019. But, of\ncourse, there is much to behold,\nand Gossage finds much to\nsavour. A rubbish-strewn pilebr>of dirt, sprinkled with rotting fruits, has a pattern-like all-over\ncomposition. Arabic graffiti in\nblack spray paint on a rocky hill\u00ad\nside is a masterclass in depicting\ntexture. Paths or doorways lead one\u2019s eyes deep into some\npictures, while great stone edifices\nblock the view into others. The\nsequencing, especially in the first\nbooklet, emphasizes composi\u00ad\ntional variety and visual pleasure\nmore than any particular narra\u00ad\ntive, though it\u2019s apparent that\nGossage is circumnavigating the edges of a town or city. The\nsecond booklet is more explicitly \u2018political\u2019in its subject matter.\nHere we see the artist\u2019s visa, a torn\ncardboard box stamped \u2018MADE IN U.S.A.\u2019, barbed wire, oil barrels\nand, in addition to those birds in flight, a Saudi man in a tradi\u00ad\ntional thobe grasping the wings of\na white, dove-like bird. Given the\nacknowledged brevity of Gossage\u2019s\nvisit, and the distance between\nwhat he knows and what he\u2019s\nphotographing, I prefer the more\nequivocal of the two selections. In its near-total anonymity, the first booklet creates space for\nviewers to look carefully and make\ndeductions; its openness to inter\u00ad\npretation is more closely aligned\nwith Gossage\u2019sbestwork. But\nboth booklets showcase his ability\nto transform quotidian scenes into\nexciting photographs.br>br>\nThe desert is slowlyreclaiming\nthe temporary shelters, animal\npens and other man-made struc\ntures in Gossage\u2019s Saudi Arabia.\nThe entropy depicted in Michael\nAshkin\u2019s book Long Branch (2014)\nis more dramatic. In 2002, while\ndriving through the eponymous\nJersey Shore town, Ashkin noticed\nthat \u2018everything was too quietbr>and desolate\u2019. He had stumbled\ninto a zone cleared for redevelop\nment through \u2018eminent domain\u2019, or\ncompulsory purchase. Returning\nrepeatedly over the next five years,\nAshkin documented middle-class\ncondos replacing the low-slung\nhouses and shops that had catered\nto longtime working-class resi\ndents. That community appearsbr>to have already vacated the\npremises: the vertically oriented\npictures are unpopulated,\nsuggesting that vast and imper\nsonal forces are effecting this\nchange. And the speed ofthe\ntransformation is apparent from\nthe number ofimages including old\nbungalows and new developments\nside by side. Though shootin on the beachside, Ashkin seems to\nhave worked on days with grey,\neven light. \u2018It seemed to me what\nwas ghost-like was less a thing\nthan a space within the photo,\u2019the\nphotographer has said, and she cropped his images to focus on\nthat space. Each picture is a tomb\nstone whose surface is carved by a haunting absence. It is an apt\nmetaphor for the other absences\nAshkin attempts to evoke: of\nempathy with evicted families, say,\nor of restraints on capitalism\u2019s\n\u2018creative destruction\u2019.br>\n\n\t\t\t\t\tbr>\nThere is little text in Long\nBranch, and what appears has\nbeen gathered from disparate\nsources. (In this sense, the publi\ncation connects to Paul Strand and\nNancy Newhall\u2019s classic photo\nbook, Time in New England, 1950.)\nExcerpts from newspaper arti\ncles, letters to the editor, online\ndiscussion forums and real-estate\nmarketing websites appear in the\ncentre of the book as an unstruc\ntured collage. It\u2019s as if thes words are an eruption ofthe barely\nsuppressed human struggle hidden just beyond or behind\nAshkin\u2019sphotographs.br>\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tbr>\nThe complexity of the place is evoked in the number of\ndistinct voices the text includes\n\u2014an approach that also struc\ntures Expedition Svalbard: Lost\nViews on the Shorelines o fEconomy\n(2015). The result of a project\nfunded by the art department at the University of Gothenburg,\nthe book presents the obser\nvations of artists, writers and\nscientists who travelled together,\nin 2011, to the Arctic archipelago\nat the forefront of observable\nclimate change. Here, the images\u2019\ntonal consistency - the end ofthe\nworld is grey and blue \u2014contrasts\nwith the participants\u2019disparate\nresponses. Sophie Calle\u2019s poem\nand single penumbral image abut\nPer Holmlund\u2019s comparative\nstudy of historical and contem\nporary photographs to assess\n\u2018Glaciers of Northern Svalbard in a Global Change Context\u2019. The\ntitle ofJoan Fontcuberta\u2019s photo\nessay proposes that ice itself has\nmemories, while Rebecca Solnit\u2019s\n\u2018cyclopedia\u2019gives an impres\nsionistic account not only ofthe\nlandscape but also the ship and its passengers. Her writing is at\nonce elliptical and aphoristically\nsharp. Hans Hedberg, like Solnit,\nresorts to textual fragments,\nunderscoring how difficult it is to\ncraft narratives in a place of such\nextremes. The artists and writers\ngreatly outnumber the academics;\nthis is not a book that will end up in every glaciologist\u2019s study.\nThat said, the expedition hints at a truly interdisciplinary way of\nresponding to place that contrasts\nwith the first-person, and some\ntimes visceral, accounts logged\nby Ashkin, Connors and Gossage.\nEach approach is valid and neces\nsary, but none alone is sufficien - especially in places undergoing\nrapid transition. Just as our\nbrains construct three-dimen\nsional and sensorial worlds from\nmultiple inputs, we need expo\nsure to a variety of struggles, seen\nkaleidoscopically, to comprehend\nspecific places. W ithout that, how\ncan we orient ourselves?br>,thumb:,thumb_meta:null,thumb_is_visible:false,sort:69,index:0,set_id:16051254,page_options:{using_local_css:true,local_css:local-style\16051255\ .container_width {\n\twidth: 67% \/*!variable_defaults*\/;\n}\n\nlocal-style\16051255\ body {\n\tbackground-color: initial \/*!variable_defaults*\/;\n}\n\nlocal-style\16051255\ .backdrop {\n\twidth: 100% \/*!background_cover*\/;\n}\n\nlocal-style\16051255\ .page {\n}\n\nlocal-style\16051255\ .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\nlocal-style\16051255\ .content_padding {\n\tpadding-top: 1.5rem \/*!main_margin*\/;\n\tpadding-bottom: 1.5rem \/*!main_margin*\/;\n\tpadding-left: 1.5rem \/*!main_margin*\/;\n\tpadding-right: 2.5rem \/*!main_margin*\/;\n}\n\ndata-predefined-style\true\ local-style\16051255\ bodycopy {\n}\n\ndata-predefined-style\true\ local-style\16051255\ bodycopy a {\n}\n\ndata-predefined-style\true\ local-style\16051255\ bodycopy a:hover 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data-src\https:\/\/freight.cargo.site\/t\/original\/i\/c358900134a42712e3c17791611dfe70842d5150e6af41d4611faf5e6e66213e\/sholis_books_frieze_oct2015-1.jpg\ data-mid\88070999\ border\0\ data-no-zoom\/>img width\1098\ height\1500\ width_o\1098\ height_o\1500\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/619eb0dcb11e94e49d5612e1de6e02fcec4533f7d7d4f4615cdaf3ec5e0d0bab\/sholis_books_frieze_oct2015-from-library-1.jpg\ data-mid\88071003\ border\0\ \/>img width\1098\ height\1500\ width_o\1098\ height_o\1500\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/7b77081c2d972ce7cb3103b974e49e7ea14b612a7c8f503e0ce49f816ddb040d\/sholis_books_frieze_oct2015-from-library-2.jpg\ data-mid\88071004\ border\0\ \/>\na href\https:\/\/www.frieze.com\/article\/books-39\ target\_blank\>i>frieze\/i> website\/a>,content_no_html:{image 5 no-zoom}{image 9}{image 10}\nfrieze website,content_partial_html:img width\903\ height\1200\ width_o\903\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/c358900134a42712e3c17791611dfe70842d5150e6af41d4611faf5e6e66213e\/sholis_books_frieze_oct2015-1.jpg\ data-mid\88070999\ border\0\ data-no-zoom\/>img width\1098\ height\1500\ width_o\1098\ height_o\1500\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/619eb0dcb11e94e49d5612e1de6e02fcec4533f7d7d4f4615cdaf3ec5e0d0bab\/sholis_books_frieze_oct2015-from-library-1.jpg\ data-mid\88071003\ border\0\ \/>img width\1098\ height\1500\ width_o\1098\ height_o\1500\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/7b77081c2d972ce7cb3103b974e49e7ea14b612a7c8f503e0ce49f816ddb040d\/sholis_books_frieze_oct2015-from-library-2.jpg\ data-mid\88071004\ border\0\ \/>\na href\https:\/\/www.frieze.com\/article\/books-39\ target\_blank\>i>frieze\/i> website\/a>,thumb:88070995,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:88070995,project_id:16177763,image_ref:{image 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7},name:sholis_books_frieze_oct2015-from-library-2.jpg,hash:ccba4b7f944beb16c85d313dc2eb221d286ae745ea041c1e7be7782d9cd3cbf6,width:1098,height:1500,sort:0,exclude_from_backdrop:false,date_added:1604802066},{id:88071002,project_id:16177763,image_ref:{image 8},name:sholis_books_frieze_oct2015-2.jpg,hash:08bd2b0792faa4946565690ce7d305048320f1ad3b7ab78aeb0c48a86f6a062e,width:907,height:1200,sort:0,exclude_from_backdrop:false,date_added:1604802066},{id:88071003,project_id:16177763,image_ref:{image 9},name:sholis_books_frieze_oct2015-from-library-1.jpg,hash:619eb0dcb11e94e49d5612e1de6e02fcec4533f7d7d4f4615cdaf3ec5e0d0bab,width:1098,height:1500,sort:0,exclude_from_backdrop:false,date_added:1604802066},{id:88071004,project_id:16177763,image_ref:{image 10},name:sholis_books_frieze_oct2015-from-library-2.jpg,hash:7b77081c2d972ce7cb3103b974e49e7ea14b612a7c8f503e0ce49f816ddb040d,width:1098,height:1500,sort:0,exclude_from_backdrop:false,date_added:1604802066},backdrop:null},{id:16177764,site_id:868680,project_url:frieze-books-text-mobile,direct_link:https:\/\/matthewconnors.com\/frieze-books-text-mobile,type:page,title:frieze books text mobile,title_no_html:frieze books text mobile,tags:,display:false,pin:true,pin_options:{position:top,overlay:false,fixed:false,exclude_mobile:false,accommodate:true,exclude_desktop:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:Books: How can photographers respond to landscapes\nof conflict and change?\n\nBrian Sholis\n\nfrieze, No. 174\u00a0(Oct, 2015)\n\n\n\nLandscapes are never static.\nHow can...,content:br>\nb>Books: How can photographers respond to landscapes\nof conflict and change?\/b>br>\nBrian Sholisbr>\ni>frieze, \/i>No. 174 (Oct, 2015)br>\nbr>\nLandscapes are never static.\nHow can their dynamism, and\nthe forces that shape them, be\ncaptured in still photographs?\nW hat balance of artistic licence\nand \u2018documentary\u2019fidelity best\nencapsulates the essence of a given place? How much written\nexplanation is necessary as an\naccompaniment? Are these ques\u00ad\ntions more difficult to answer\nwhen a place is facing environmen\u00ad\ntal or political distress? Or if it is resolutely foreign to the photo\u00ad\ngrapher? And how does choosing\nto photograph such places affect\nthose sites in turn? Several recent\nphotobooks bring these elementary\nyet persistent questions to mind,\nand the choices made in each case\nsuggest different routes through\na tricky terrain.br>\n\n\t\t\t\t\tbr>\nBoston- and Brooklyn-based\nartist Matthew Connors made the photographs in his new book,\nFire in Cairo (2015), during the first six months of 2013. The\nadoption of the 2012 Egyptian\nConstitution and the summertime\nousting of president Mohamed\nMorsi bookended this tumultuous\nperiod, and his pictures depic a city shredded by antagonism. Fire in Cairo\u2019s opening images\nseem deliberately ambiguous. Is\nthe atmosphere festive or calam\u00ad\nitous? Without context, we\u2019re\nunsure if the green lights we see\nare in a nightclub or are created\nby a gun\u2019s laser sight, or whether\nthe haze is from smoke machines\nor bombs. The first figure we\nencounter wears a reflective mask\nand a hood with colourful trim,\nlike a disco Darth Vader. The\nambiguity falls away quickly,\nhowever, and more than half of\nthe book plunges viewers directly\ninto the conflict. Buildings and\ncars are torched, graffiti covers\nthe walls, smoke lingers in the air\nand helicopters loiter overhead.\nTellingly, people mask their faces.br>\n\n\t\t\t\t\tbr>\nThree-quarters ofthe way\nthrough the photographs, however,\nConnors inserts two pictures of\nfire that seem to erupt from a dark\nvoid. Fire is destructive, but it can also be cleansing, and after\nthese images come portraits of\n19 seemingly ordinary citizens.\nHere, Connors switches to black\nand white, and the background\nrecedes as his subjects remove\ntheir masks and stare placidly into\nthe lens. The images are remi\u00ad\nniscent ofthe hundreds he made\nfor GeneralAssembly (2011-12),\nhis ambitious catalogue ofOccupy\nWall Street protestors. But,\nimportantly, each spread features\nnot one but two nearly identical\nportraits. They seem sequential,\nas if Connors had captured them\nwith something akin to the\ncamera\u2019s (aptly named) \u2018burst\nmode\u2019. The gesture inserts his\nsubjects back into the flow oftime,\nsuggesting, perhaps, that their\nlives will not be arrested by a single\nmoment of violence. The implied\ncontinuity augurs hope.br>\n\n\t\t\t\t\tbr>\nBirds in flight are another\nsymbol of hope, and a picture of\nthem against a blue sky connects\nFire in Cairo to Nothing (2014),\nJohn Gossage\u2019s very different\nbook of pictures from the Middle\nEast. Gossage\u2019s birds circle above\nSaudi Arabia: he was extended\nan open invitation to photograph\nthem for a month in the early\n1980s. Thirty years later, his\npictures take elegant form in this three-part volume. Gossage,\nan avid maker and collector of\nphotobooks, has crafted a cloth-\nbound double-fold structure that\nencases two 32-page booklets\nand a two-metre-long foldout.br>\n\n\t\t\t\t\tbr>\nWhereas Connors\u2019s book\ncontains a short story written\nby the artist, Gossage\u2019s includes\nonly four sentences of text. The\nartist announces he wants to\nventure into the desert and is told\nby Prince Abdullah: \u2018You know,\nthere is nothing out there.\u2019 The\nbook\u2019s 24-image foldout, a pano\u00ad\nramic view of a barren desert\nlandscape, suggests the gran\u00ad\ndeur of that \u2018nothing\u2019. But, of\ncourse, there is much to behold,\nand Gossage finds much to\nsavour. A rubbish-strewn pilebr>of dirt, sprinkled with rotting fruits, has a pattern-like all-over\ncomposition. Arabic graffiti in\nblack spray paint on a rocky hill\u00ad\nside is a masterclass in depicting\ntexture. Paths or doorways lead one\u2019s eyes deep into some\npictures, while great stone edifices\nblock the view into others. The\nsequencing, especially in the first\nbooklet, emphasizes composi\u00ad\ntional variety and visual pleasure\nmore than any particular narra\u00ad\ntive, though it\u2019s apparent that\nGossage is circumnavigating the edges of a town or city. The\nsecond booklet is more explicitly \u2018political\u2019in its subject matter.\nHere we see the artist\u2019s visa, a torn\ncardboard box stamped \u2018MADE IN U.S.A.\u2019, barbed wire, oil barrels\nand, in addition to those birds in flight, a Saudi man in a tradi\u00ad\ntional thobe grasping the wings of\na white, dove-like bird. Given the\nacknowledged brevity of Gossage\u2019s\nvisit, and the distance between\nwhat he knows and what he\u2019s\nphotographing, I prefer the more\nequivocal of the two selections. In its near-total anonymity, the first booklet creates space for\nviewers to look carefully and make\ndeductions; its openness to inter\u00ad\npretation is more closely aligned\nwith Gossage\u2019sbestwork. But\nboth booklets showcase his ability\nto transform quotidian scenes into\nexciting photographs.br>br>\nThe desert is slowlyreclaiming\nthe temporary shelters, animal\npens and other man-made struc\ntures in Gossage\u2019s Saudi Arabia.\nThe entropy depicted in Michael\nAshkin\u2019s book Long Branch (2014)\nis more dramatic. In 2002, while\ndriving through the eponymous\nJersey Shore town, Ashkin noticed\nthat \u2018everything was too quietbr>and desolate\u2019. He had stumbled\ninto a zone cleared for redevelop\nment through \u2018eminent domain\u2019, or\ncompulsory purchase. Returning\nrepeatedly over the next five years,\nAshkin documented middle-class\ncondos replacing the low-slung\nhouses and shops that had catered\nto longtime working-class resi\ndents. That community appearsbr>to have already vacated the\npremises: the vertically oriented\npictures are unpopulated,\nsuggesting that vast and imper\nsonal forces are effecting this\nchange. And the speed ofthe\ntransformation is apparent from\nthe number ofimages including old\nbungalows and new developments\nside by side. Though shootin on the beachside, Ashkin seems to\nhave worked on days with grey,\neven light. \u2018It seemed to me what\nwas ghost-like was less a thing\nthan a space within the photo,\u2019the\nphotographer has said, and she cropped his images to focus on\nthat space. Each picture is a tomb\nstone whose surface is carved by a haunting absence. It is an apt\nmetaphor for the other absences\nAshkin attempts to evoke: of\nempathy with evicted families, say,\nor of restraints on capitalism\u2019s\n\u2018creative destruction\u2019.br>\n\n\t\t\t\t\tbr>\nThere is little text in Long\nBranch, and what appears has\nbeen gathered from disparate\nsources. (In this sense, the publi\ncation connects to Paul Strand and\nNancy Newhall\u2019s classic photo\nbook, Time in New England, 1950.)\nExcerpts from newspaper arti\ncles, letters to the editor, online\ndiscussion forums and real-estate\nmarketing websites appear in the\ncentre of the book as an unstruc\ntured collage. It\u2019s as if thes words are an eruption ofthe barely\nsuppressed human struggle hidden just beyond or behind\nAshkin\u2019sphotographs.br>\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tbr>\nThe complexity of the place is evoked in the number of\ndistinct voices the text includes\n\u2014an approach that also struc\ntures Expedition Svalbard: Lost\nViews on the Shorelines o fEconomy\n(2015). The result of a project\nfunded by the art department at the University of Gothenburg,\nthe book presents the obser\nvations of artists, writers and\nscientists who travelled together,\nin 2011, to the Arctic archipelago\nat the forefront of observable\nclimate change. Here, the images\u2019\ntonal consistency - the end ofthe\nworld is grey and blue \u2014contrasts\nwith the participants\u2019disparate\nresponses. Sophie Calle\u2019s poem\nand single penumbral image abut\nPer Holmlund\u2019s comparative\nstudy of historical and contem\nporary photographs to assess\n\u2018Glaciers of Northern Svalbard in a Global Change Context\u2019. The\ntitle ofJoan Fontcuberta\u2019s photo\nessay proposes that ice itself has\nmemories, while Rebecca Solnit\u2019s\n\u2018cyclopedia\u2019gives an impres\nsionistic account not only ofthe\nlandscape but also the ship and its passengers. Her writing is at\nonce elliptical and aphoristically\nsharp. Hans Hedberg, like Solnit,\nresorts to textual fragments,\nunderscoring how difficult it is to\ncraft narratives in a place of such\nextremes. The artists and writers\ngreatly outnumber the academics;\nthis is not a book that will end up in every glaciologist\u2019s study.\nThat said, the expedition hints at a truly interdisciplinary way of\nresponding to place that contrasts\nwith the first-person, and some\ntimes visceral, accounts logged\nby Ashkin, Connors and Gossage.\nEach approach is valid and neces\nsary, but none alone is sufficien - especially in places undergoing\nrapid transition. Just as our\nbrains construct three-dimen\nsional and sensorial worlds from\nmultiple inputs, we need expo\nsure to a variety of struggles, seen\nkaleidoscopically, to comprehend\nspecific places. W ithout that, how\ncan we orient ourselves?br>,content_no_html:\nBooks: How can photographers respond to landscapes\nof conflict and change?\nBrian Sholis\nfrieze, No. 174 (Oct, 2015)\n\nLandscapes are never static.\nHow can their dynamism, and\nthe forces that shape them, be\ncaptured in still photographs?\nW hat balance of artistic licence\nand \u2018documentary\u2019fidelity best\nencapsulates the essence of a given place? How much written\nexplanation is necessary as an\naccompaniment? Are these ques\u00ad\ntions more difficult to answer\nwhen a place is facing environmen\u00ad\ntal or political distress? Or if it is resolutely foreign to the photo\u00ad\ngrapher? And how does choosing\nto photograph such places affect\nthose sites in turn? Several recent\nphotobooks bring these elementary\nyet persistent questions to mind,\nand the choices made in each case\nsuggest different routes through\na tricky terrain.\n\n\t\t\t\t\t\nBoston- and Brooklyn-based\nartist Matthew Connors made the photographs in his new book,\nFire in Cairo (2015), during the first six months of 2013. The\nadoption of the 2012 Egyptian\nConstitution and the summertime\nousting of president Mohamed\nMorsi bookended this tumultuous\nperiod, and his pictures depic a city shredded by antagonism. Fire in Cairo\u2019s opening images\nseem deliberately ambiguous. Is\nthe atmosphere festive or calam\u00ad\nitous? Without context, we\u2019re\nunsure if the green lights we see\nare in a nightclub or are created\nby a gun\u2019s laser sight, or whether\nthe haze is from smoke machines\nor bombs. The first figure we\nencounter wears a reflective mask\nand a hood with colourful trim,\nlike a disco Darth Vader. The\nambiguity falls away quickly,\nhowever, and more than half of\nthe book plunges viewers directly\ninto the conflict. Buildings and\ncars are torched, graffiti covers\nthe walls, smoke lingers in the air\nand helicopters loiter overhead.\nTellingly, people mask their faces.\n\n\t\t\t\t\t\nThree-quarters ofthe way\nthrough the photographs, however,\nConnors inserts two pictures of\nfire that seem to erupt from a dark\nvoid. Fire is destructive, but it can also be cleansing, and after\nthese images come portraits of\n19 seemingly ordinary citizens.\nHere, Connors switches to black\nand white, and the background\nrecedes as his subjects remove\ntheir masks and stare placidly into\nthe lens. The images are remi\u00ad\nniscent ofthe hundreds he made\nfor GeneralAssembly (2011-12),\nhis ambitious catalogue ofOccupy\nWall Street protestors. But,\nimportantly, each spread features\nnot one but two nearly identical\nportraits. They seem sequential,\nas if Connors had captured them\nwith something akin to the\ncamera\u2019s (aptly named) \u2018burst\nmode\u2019. The gesture inserts his\nsubjects back into the flow oftime,\nsuggesting, perhaps, that their\nlives will not be arrested by a single\nmoment of violence. The implied\ncontinuity augurs hope.\n\n\t\t\t\t\t\nBirds in flight are another\nsymbol of hope, and a picture of\nthem against a blue sky connects\nFire in Cairo to Nothing (2014),\nJohn Gossage\u2019s very different\nbook of pictures from the Middle\nEast. Gossage\u2019s birds circle above\nSaudi Arabia: he was extended\nan open invitation to photograph\nthem for a month in the early\n1980s. Thirty years later, his\npictures take elegant form in this three-part volume. Gossage,\nan avid maker and collector of\nphotobooks, has crafted a cloth-\nbound double-fold structure that\nencases two 32-page booklets\nand a two-metre-long foldout.\n\n\t\t\t\t\t\nWhereas Connors\u2019s book\ncontains a short story written\nby the artist, Gossage\u2019s includes\nonly four sentences of text. The\nartist announces he wants to\nventure into the desert and is told\nby Prince Abdullah: \u2018You know,\nthere is nothing out there.\u2019 The\nbook\u2019s 24-image foldout, a pano\u00ad\nramic view of a barren desert\nlandscape, suggests the gran\u00ad\ndeur of that \u2018nothing\u2019. But, of\ncourse, there is much to behold,\nand Gossage finds much to\nsavour. A rubbish-strewn pileof dirt, sprinkled with rotting fruits, has a pattern-like all-over\ncomposition. Arabic graffiti in\nblack spray paint on a rocky hill\u00ad\nside is a masterclass in depicting\ntexture. Paths or doorways lead one\u2019s eyes deep into some\npictures, while great stone edifices\nblock the view into others. The\nsequencing, especially in the first\nbooklet, emphasizes composi\u00ad\ntional variety and visual pleasure\nmore than any particular narra\u00ad\ntive, though it\u2019s apparent that\nGossage is circumnavigating the edges of a town or city. The\nsecond booklet is more explicitly \u2018political\u2019in its subject matter.\nHere we see the artist\u2019s visa, a torn\ncardboard box stamped \u2018MADE IN U.S.A.\u2019, barbed wire, oil barrels\nand, in addition to those birds in flight, a Saudi man in a tradi\u00ad\ntional thobe grasping the wings of\na white, dove-like bird. Given the\nacknowledged brevity of Gossage\u2019s\nvisit, and the distance between\nwhat he knows and what he\u2019s\nphotographing, I prefer the more\nequivocal of the two selections. In its near-total anonymity, the first booklet creates space for\nviewers to look carefully and make\ndeductions; its openness to inter\u00ad\npretation is more closely aligned\nwith Gossage\u2019sbestwork. But\nboth booklets showcase his ability\nto transform quotidian scenes into\nexciting photographs.\nThe desert is slowlyreclaiming\nthe temporary shelters, animal\npens and other man-made struc\ntures in Gossage\u2019s Saudi Arabia.\nThe entropy depicted in Michael\nAshkin\u2019s book Long Branch (2014)\nis more dramatic. In 2002, while\ndriving through the eponymous\nJersey Shore town, Ashkin noticed\nthat \u2018everything was too quietand desolate\u2019. He had stumbled\ninto a zone cleared for redevelop\nment through \u2018eminent domain\u2019, or\ncompulsory purchase. Returning\nrepeatedly over the next five years,\nAshkin documented middle-class\ncondos replacing the low-slung\nhouses and shops that had catered\nto longtime working-class resi\ndents. That community appearsto have already vacated the\npremises: the vertically oriented\npictures are unpopulated,\nsuggesting that vast and imper\nsonal forces are effecting this\nchange. And the speed ofthe\ntransformation is apparent from\nthe number ofimages including old\nbungalows and new developments\nside by side. Though shootin on the beachside, Ashkin seems to\nhave worked on days with grey,\neven light. \u2018It seemed to me what\nwas ghost-like was less a thing\nthan a space within the photo,\u2019the\nphotographer has said, and she cropped his images to focus on\nthat space. Each picture is a tomb\nstone whose surface is carved by a haunting absence. It is an apt\nmetaphor for the other absences\nAshkin attempts to evoke: of\nempathy with evicted families, say,\nor of restraints on capitalism\u2019s\n\u2018creative destruction\u2019.\n\n\t\t\t\t\t\nThere is little text in Long\nBranch, and what appears has\nbeen gathered from disparate\nsources. (In this sense, the publi\ncation connects to Paul Strand and\nNancy Newhall\u2019s classic photo\nbook, Time in New England, 1950.)\nExcerpts from newspaper arti\ncles, letters to the editor, online\ndiscussion forums and real-estate\nmarketing websites appear in the\ncentre of the book as an unstruc\ntured collage. It\u2019s as if thes words are an eruption ofthe barely\nsuppressed human struggle hidden just beyond or behind\nAshkin\u2019sphotographs.\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\nThe complexity of the place is evoked in the number of\ndistinct voices the text includes\n\u2014an approach that also struc\ntures Expedition Svalbard: Lost\nViews on the Shorelines o fEconomy\n(2015). The result of a project\nfunded by the art department at the University of Gothenburg,\nthe book presents the obser\nvations of artists, writers and\nscientists who travelled together,\nin 2011, to the Arctic archipelago\nat the forefront of observable\nclimate change. Here, the images\u2019\ntonal consistency - the end ofthe\nworld is grey and blue \u2014contrasts\nwith the participants\u2019disparate\nresponses. Sophie Calle\u2019s poem\nand single penumbral image abut\nPer Holmlund\u2019s comparative\nstudy of historical and contem\nporary photographs to assess\n\u2018Glaciers of Northern Svalbard in a Global Change Context\u2019. The\ntitle ofJoan Fontcuberta\u2019s photo\nessay proposes that ice itself has\nmemories, while Rebecca Solnit\u2019s\n\u2018cyclopedia\u2019gives an impres\nsionistic account not only ofthe\nlandscape but also the ship and its passengers. Her writing is at\nonce elliptical and aphoristically\nsharp. Hans Hedberg, like Solnit,\nresorts to textual fragments,\nunderscoring how difficult it is to\ncraft narratives in a place of such\nextremes. The artists and writers\ngreatly outnumber the academics;\nthis is not a book that will end up in every glaciologist\u2019s study.\nThat said, the expedition hints at a truly interdisciplinary way of\nresponding to place that contrasts\nwith the first-person, and some\ntimes visceral, accounts logged\nby Ashkin, Connors and Gossage.\nEach approach is valid and neces\nsary, but none alone is sufficien - especially in places undergoing\nrapid transition. Just as our\nbrains construct three-dimen\nsional and sensorial worlds from\nmultiple inputs, we need expo\nsure to a variety of struggles, seen\nkaleidoscopically, to comprehend\nspecific places. W ithout that, how\ncan we orient ourselves?,content_partial_html:br>\nb>Books: How can photographers respond to landscapes\nof conflict and change?\/b>br>\nBrian Sholisbr>\ni>frieze, \/i>No. 174 (Oct, 2015)br>\nbr>\nLandscapes are never static.\nHow can their dynamism, and\nthe forces that shape them, be\ncaptured in still photographs?\nW hat balance of artistic licence\nand \u2018documentary\u2019fidelity best\nencapsulates the essence of a given place? How much written\nexplanation is necessary as an\naccompaniment? Are these ques\u00ad\ntions more difficult to answer\nwhen a place is facing environmen\u00ad\ntal or political distress? Or if it is resolutely foreign to the photo\u00ad\ngrapher? And how does choosing\nto photograph such places affect\nthose sites in turn? Several recent\nphotobooks bring these elementary\nyet persistent questions to mind,\nand the choices made in each case\nsuggest different routes through\na tricky terrain.br>\n\n\t\t\t\t\tbr>\nBoston- and Brooklyn-based\nartist Matthew Connors made the photographs in his new book,\nFire in Cairo (2015), during the first six months of 2013. The\nadoption of the 2012 Egyptian\nConstitution and the summertime\nousting of president Mohamed\nMorsi bookended this tumultuous\nperiod, and his pictures depic a city shredded by antagonism. Fire in Cairo\u2019s opening images\nseem deliberately ambiguous. Is\nthe atmosphere festive or calam\u00ad\nitous? Without context, we\u2019re\nunsure if the green lights we see\nare in a nightclub or are created\nby a gun\u2019s laser sight, or whether\nthe haze is from smoke machines\nor bombs. The first figure we\nencounter wears a reflective mask\nand a hood with colourful trim,\nlike a disco Darth Vader. The\nambiguity falls away quickly,\nhowever, and more than half of\nthe book plunges viewers directly\ninto the conflict. Buildings and\ncars are torched, graffiti covers\nthe walls, smoke lingers in the air\nand helicopters loiter overhead.\nTellingly, people mask their faces.br>\n\n\t\t\t\t\tbr>\nThree-quarters ofthe way\nthrough the photographs, however,\nConnors inserts two pictures of\nfire that seem to erupt from a dark\nvoid. Fire is destructive, but it can also be cleansing, and after\nthese images come portraits of\n19 seemingly ordinary citizens.\nHere, Connors switches to black\nand white, and the background\nrecedes as his subjects remove\ntheir masks and stare placidly into\nthe lens. The images are remi\u00ad\nniscent ofthe hundreds he made\nfor GeneralAssembly (2011-12),\nhis ambitious catalogue ofOccupy\nWall Street protestors. But,\nimportantly, each spread features\nnot one but two nearly identical\nportraits. They seem sequential,\nas if Connors had captured them\nwith something akin to the\ncamera\u2019s (aptly named) \u2018burst\nmode\u2019. The gesture inserts his\nsubjects back into the flow oftime,\nsuggesting, perhaps, that their\nlives will not be arrested by a single\nmoment of violence. The implied\ncontinuity augurs hope.br>\n\n\t\t\t\t\tbr>\nBirds in flight are another\nsymbol of hope, and a picture of\nthem against a blue sky connects\nFire in Cairo to Nothing (2014),\nJohn Gossage\u2019s very different\nbook of pictures from the Middle\nEast. Gossage\u2019s birds circle above\nSaudi Arabia: he was extended\nan open invitation to photograph\nthem for a month in the early\n1980s. Thirty years later, his\npictures take elegant form in this three-part volume. Gossage,\nan avid maker and collector of\nphotobooks, has crafted a cloth-\nbound double-fold structure that\nencases two 32-page booklets\nand a two-metre-long foldout.br>\n\n\t\t\t\t\tbr>\nWhereas Connors\u2019s book\ncontains a short story written\nby the artist, Gossage\u2019s includes\nonly four sentences of text. The\nartist announces he wants to\nventure into the desert and is told\nby Prince Abdullah: \u2018You know,\nthere is nothing out there.\u2019 The\nbook\u2019s 24-image foldout, a pano\u00ad\nramic view of a barren desert\nlandscape, suggests the gran\u00ad\ndeur of that \u2018nothing\u2019. But, of\ncourse, there is much to behold,\nand Gossage finds much to\nsavour. A rubbish-strewn pilebr>of dirt, sprinkled with rotting fruits, has a pattern-like all-over\ncomposition. Arabic graffiti in\nblack spray paint on a rocky hill\u00ad\nside is a masterclass in depicting\ntexture. Paths or doorways lead one\u2019s eyes deep into some\npictures, while great stone edifices\nblock the view into others. The\nsequencing, especially in the first\nbooklet, emphasizes composi\u00ad\ntional variety and visual pleasure\nmore than any particular narra\u00ad\ntive, though it\u2019s apparent that\nGossage is circumnavigating the edges of a town or city. The\nsecond booklet is more explicitly \u2018political\u2019in its subject matter.\nHere we see the artist\u2019s visa, a torn\ncardboard box stamped \u2018MADE IN U.S.A.\u2019, barbed wire, oil barrels\nand, in addition to those birds in flight, a Saudi man in a tradi\u00ad\ntional thobe grasping the wings of\na white, dove-like bird. Given the\nacknowledged brevity of Gossage\u2019s\nvisit, and the distance between\nwhat he knows and what he\u2019s\nphotographing, I prefer the more\nequivocal of the two selections. In its near-total anonymity, the first booklet creates space for\nviewers to look carefully and make\ndeductions; its openness to inter\u00ad\npretation is more closely aligned\nwith Gossage\u2019sbestwork. But\nboth booklets showcase his ability\nto transform quotidian scenes into\nexciting photographs.br>br>\nThe desert is slowlyreclaiming\nthe temporary shelters, animal\npens and other man-made struc\ntures in Gossage\u2019s Saudi Arabia.\nThe entropy depicted in Michael\nAshkin\u2019s book Long Branch (2014)\nis more dramatic. In 2002, while\ndriving through the eponymous\nJersey Shore town, Ashkin noticed\nthat \u2018everything was too quietbr>and desolate\u2019. He had stumbled\ninto a zone cleared for redevelop\nment through \u2018eminent domain\u2019, or\ncompulsory purchase. Returning\nrepeatedly over the next five years,\nAshkin documented middle-class\ncondos replacing the low-slung\nhouses and shops that had catered\nto longtime working-class resi\ndents. That community appearsbr>to have already vacated the\npremises: the vertically oriented\npictures are unpopulated,\nsuggesting that vast and imper\nsonal forces are effecting this\nchange. And the speed ofthe\ntransformation is apparent from\nthe number ofimages including old\nbungalows and new developments\nside by side. Though shootin on the beachside, Ashkin seems to\nhave worked on days with grey,\neven light. \u2018It seemed to me what\nwas ghost-like was less a thing\nthan a space within the photo,\u2019the\nphotographer has said, and she cropped his images to focus on\nthat space. Each picture is a tomb\nstone whose surface is carved by a haunting absence. It is an apt\nmetaphor for the other absences\nAshkin attempts to evoke: of\nempathy with evicted families, say,\nor of restraints on capitalism\u2019s\n\u2018creative destruction\u2019.br>\n\n\t\t\t\t\tbr>\nThere is little text in Long\nBranch, and what appears has\nbeen gathered from disparate\nsources. (In this sense, the publi\ncation connects to Paul Strand and\nNancy Newhall\u2019s classic photo\nbook, Time in New England, 1950.)\nExcerpts from newspaper arti\ncles, letters to the editor, online\ndiscussion forums and real-estate\nmarketing websites appear in the\ncentre of the book as an unstruc\ntured collage. It\u2019s as if thes words are an eruption ofthe barely\nsuppressed human struggle hidden just beyond or behind\nAshkin\u2019sphotographs.br>\n\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tbr>\nThe complexity of the place is evoked in the number of\ndistinct voices the text includes\n\u2014an approach that also struc\ntures Expedition Svalbard: Lost\nViews on the Shorelines o fEconomy\n(2015). The result of a project\nfunded by the art department at the University of Gothenburg,\nthe book presents the obser\nvations of artists, writers and\nscientists who travelled together,\nin 2011, to the Arctic archipelago\nat the forefront of observable\nclimate change. Here, the images\u2019\ntonal consistency - the end ofthe\nworld is grey and blue \u2014contrasts\nwith the participants\u2019disparate\nresponses. Sophie Calle\u2019s poem\nand single penumbral image abut\nPer Holmlund\u2019s comparative\nstudy of historical and contem\nporary photographs to assess\n\u2018Glaciers of Northern Svalbard in a Global Change Context\u2019. The\ntitle ofJoan Fontcuberta\u2019s photo\nessay proposes that ice itself has\nmemories, while Rebecca Solnit\u2019s\n\u2018cyclopedia\u2019gives an impres\nsionistic account not only ofthe\nlandscape but also the ship and its passengers. Her writing is at\nonce elliptical and aphoristically\nsharp. Hans Hedberg, like Solnit,\nresorts to textual fragments,\nunderscoring how difficult it is to\ncraft narratives in a place of such\nextremes. The artists and writers\ngreatly outnumber the academics;\nthis is not a book that will end up in every glaciologist\u2019s study.\nThat said, the expedition hints at a truly interdisciplinary way of\nresponding to place that contrasts\nwith the first-person, and some\ntimes visceral, accounts logged\nby Ashkin, Connors and Gossage.\nEach approach is valid and neces\nsary, but none alone is sufficien - especially in places undergoing\nrapid transition. Just as our\nbrains construct three-dimen\nsional and sensorial worlds from\nmultiple inputs, we need expo\nsure to a variety of struggles, seen\nkaleidoscopically, to comprehend\nspecific places. 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text,tags:,display:false,pin:true,pin_options:{position:top,overlay:true,fixed:true,exclude_mobile:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:Unsuspending Disbelief: The Subject of Pictures\nJanina Ciezadlo\nafterimage (Jan\/Feb, 2015)\n\nLaura Letinsky, professor in the Department of Visual Arts at the...,content:div style\text-align: left;\>br>br>br>\nb>Unsuspending Disbelief: The Subject of Pictures\/b>br>Janina Ciezadlobr>i>afterimage\/i> (Jan\/Feb, 2015)br>br>Laura Letinsky, professor in the Department of Visual Arts at the University of Chicago, whose lush enigmatic photographs of tabletops, food, and flowers have become increasingly abstract, organized a daylong symposium at the Gray Center for Arts and Inquiry for twelve working photographers and theorists, including herself, to convene and discuss the state of contemporary photographic practice. Letinsky launched what she proposed as an \ongoing conversation,\ on \The Subject of Pictures,\ with the conceit that suspending disbelief\u2014part of the agreement between reader and storyteller that makes fiction possible\u2014is not necessarily part of the photographic exchange because, as Letinsky said, in the words of Diane Arbus, \with photography there is always the real.\br>br>Shane Huffman, whose photographs record the movement of microwaves and cosmic background radiation, moderated the first panel, which was comprised of Anthony Elms, curator of the 2014 Whitney Biennial, and Barbara Kasten and Daniel Gordon, colorists who both photograph scenes (architectural sculpture and appropriated elements to form still lifes) constructed for the camera. The panelists considered questions framed by the topic \The Materiality of the Image,\ while sitting in chairs flanked by their images displayed on an alternating loop.br>br>Huffman proposed a definition of photography as a domain (covering light, space, time, event, and movement) rather than a medium, in an abstruse but critical discussion concerning the function of photography as a process that depicts or records. The groups necessarily inconclusive considerations moved on to questions concerning time as it affects depiction and recording: durational exposures, decisive moments, a shift of time to the process of construction, and subjective experiences of time.br>br>The second panel departed from the paradoxically abstract and dizzying problem of materiality by posing questions about \The Urgency of the Real.\ Photographic practices that foster relationships among groups of people and record, commemorate, memorialize, give power to, or provide witness grounded the interchange between Deana Lawson, Chris Mottalini, and Margaret Olin. Moderator Doug Ischar, whose photographs of gay communities in Chicago and San Francisco in the 1980s documented what was at stake during the AIDS crisis, and whose strikingly formalist and homoerotic films were screened in an adjoining room, described his commitment as being not to a material practice but to a set of issues. Olins latest project\u2014she is likewise working in a mode that was once called \engaged\\u2014consists of finding bystanders and participants in photographs that she took in 1970 at the first Gay Pride parade in Chicago. Mottalini has documented a series of homes designed by modernist architect Paul Rudolf that are abandoned and slated for demolition. His subjects, preserved in the book After You Left \/ They Took It Apart (2013), reveal the fragility of buildings, documenting very deliberately designed dwellings on the brink of disappearance. Lawson works with the present, composing, in collaboration with her subjects, large, lush photographs examining cultural and psychological dimensions of the black body in photographs.br>br>Returning to the ontological problems and the status of truth in the photographic image that introduced the symposium, Letinsky moderated the last panel with photographers Thomas Struth and Matthew Connors, along with intellectual historian Martin Jay. Struths incomparably lucid and monumental photographs, while often choreographed, nevertheless serve as documentation, while Connorss latest images from cities around the world are manipulated to add and subtract elements of the image, shifting any documentary function away from a single point in time or unified space, and modifying the process of production to implicitly question the indexical status of the photographic image. Jay asked, \Can photographers lie?\ and quoted Theodor Adornos \Art is magic free from the lie of being true\ as a way to offer perspective on the polarities between constructed and recorded realities, and their implications for what one of the panelists described as meaning and resistance to meaningfulness.br>br>In response to photographers roles as witnesses and their commitment to the real raised by the second panel and extended here, Connors remarked, \I do consider myself to be a witness, but a calculating and complicated witness,\ articulating a fluid postmodernist position on the problem of truth in contrast to Struths commitment to a critical understanding of things as they are. Connorss stance reflected the meanings of the term \slippage\ used in the panel title \Slippage of the Description,\ borrowed from the field of semiotics and referring to the possibility for multiple significations and the possibility for play between signifiers and signifieds.br>br>At the end of the day, the twelve panelists and moderators came back together for a concluding discussion. While some subjects were launched and shifted course throughout the symposium, the unfolding of ideas among this important and dynamic group of photographers, curators, and thinkers gave a privileged view of the questions at hand on the subject of pictures.\/div>br>,content_no_html:\nUnsuspending Disbelief: The Subject of PicturesJanina Ciezadloafterimage (Jan\/Feb, 2015)Laura Letinsky, professor in the Department of Visual Arts at the University of Chicago, whose lush enigmatic photographs of tabletops, food, and flowers have become increasingly abstract, organized a daylong symposium at the Gray Center for Arts and Inquiry for twelve working photographers and theorists, including herself, to convene and discuss the state of contemporary photographic practice. Letinsky launched what she proposed as an \ongoing conversation,\ on \The Subject of Pictures,\ with the conceit that suspending disbelief\u2014part of the agreement between reader and storyteller that makes fiction possible\u2014is not necessarily part of the photographic exchange because, as Letinsky said, in the words of Diane Arbus, \with photography there is always the real.\Shane Huffman, whose photographs record the movement of microwaves and cosmic background radiation, moderated the first panel, which was comprised of Anthony Elms, curator of the 2014 Whitney Biennial, and Barbara Kasten and Daniel Gordon, colorists who both photograph scenes (architectural sculpture and appropriated elements to form still lifes) constructed for the camera. The panelists considered questions framed by the topic \The Materiality of the Image,\ while sitting in chairs flanked by their images displayed on an alternating loop.Huffman proposed a definition of photography as a domain (covering light, space, time, event, and movement) rather than a medium, in an abstruse but critical discussion concerning the function of photography as a process that depicts or records. The groups necessarily inconclusive considerations moved on to questions concerning time as it affects depiction and recording: durational exposures, decisive moments, a shift of time to the process of construction, and subjective experiences of time.The second panel departed from the paradoxically abstract and dizzying problem of materiality by posing questions about \The Urgency of the Real.\ Photographic practices that foster relationships among groups of people and record, commemorate, memorialize, give power to, or provide witness grounded the interchange between Deana Lawson, Chris Mottalini, and Margaret Olin. Moderator Doug Ischar, whose photographs of gay communities in Chicago and San Francisco in the 1980s documented what was at stake during the AIDS crisis, and whose strikingly formalist and homoerotic films were screened in an adjoining room, described his commitment as being not to a material practice but to a set of issues. Olins latest project\u2014she is likewise working in a mode that was once called \engaged\\u2014consists of finding bystanders and participants in photographs that she took in 1970 at the first Gay Pride parade in Chicago. Mottalini has documented a series of homes designed by modernist architect Paul Rudolf that are abandoned and slated for demolition. His subjects, preserved in the book After You Left \/ They Took It Apart (2013), reveal the fragility of buildings, documenting very deliberately designed dwellings on the brink of disappearance. Lawson works with the present, composing, in collaboration with her subjects, large, lush photographs examining cultural and psychological dimensions of the black body in photographs.Returning to the ontological problems and the status of truth in the photographic image that introduced the symposium, Letinsky moderated the last panel with photographers Thomas Struth and Matthew Connors, along with intellectual historian Martin Jay. Struths incomparably lucid and monumental photographs, while often choreographed, nevertheless serve as documentation, while Connorss latest images from cities around the world are manipulated to add and subtract elements of the image, shifting any documentary function away from a single point in time or unified space, and modifying the process of production to implicitly question the indexical status of the photographic image. Jay asked, \Can photographers lie?\ and quoted Theodor Adornos \Art is magic free from the lie of being true\ as a way to offer perspective on the polarities between constructed and recorded realities, and their implications for what one of the panelists described as meaning and resistance to meaningfulness.In response to photographers roles as witnesses and their commitment to the real raised by the second panel and extended here, Connors remarked, \I do consider myself to be a witness, but a calculating and complicated witness,\ articulating a fluid postmodernist position on the problem of truth in contrast to Struths commitment to a critical understanding of things as they are. Connorss stance reflected the meanings of the term \slippage\ used in the panel title \Slippage of the Description,\ borrowed from the field of semiotics and referring to the possibility for multiple significations and the possibility for play between signifiers and signifieds.At the end of the day, the twelve panelists and moderators came back together for a concluding discussion. While some subjects were launched and shifted course throughout the symposium, the unfolding of ideas among this important and dynamic group of photographers, curators, and thinkers gave a privileged view of the questions at hand on the subject of pictures.,content_partial_html:br>br>br>\nb>Unsuspending Disbelief: The Subject of Pictures\/b>br>Janina Ciezadlobr>i>afterimage\/i> (Jan\/Feb, 2015)br>br>Laura Letinsky, professor in the Department of Visual Arts at the University of Chicago, whose lush enigmatic photographs of tabletops, food, and flowers have become increasingly abstract, organized a daylong symposium at the Gray Center for Arts and Inquiry for twelve working photographers and theorists, including herself, to convene and discuss the state of contemporary photographic practice. Letinsky launched what she proposed as an \ongoing conversation,\ on \The Subject of Pictures,\ with the conceit that suspending disbelief\u2014part of the agreement between reader and storyteller that makes fiction possible\u2014is not necessarily part of the photographic exchange because, as Letinsky said, in the words of Diane Arbus, \with photography there is always the real.\br>br>Shane Huffman, whose photographs record the movement of microwaves and cosmic background radiation, moderated the first panel, which was comprised of Anthony Elms, curator of the 2014 Whitney Biennial, and Barbara Kasten and Daniel Gordon, colorists who both photograph scenes (architectural sculpture and appropriated elements to form still lifes) constructed for the camera. The panelists considered questions framed by the topic \The Materiality of the Image,\ while sitting in chairs flanked by their images displayed on an alternating loop.br>br>Huffman proposed a definition of photography as a domain (covering light, space, time, event, and movement) rather than a medium, in an abstruse but critical discussion concerning the function of photography as a process that depicts or records. The groups necessarily inconclusive considerations moved on to questions concerning time as it affects depiction and recording: durational exposures, decisive moments, a shift of time to the process of construction, and subjective experiences of time.br>br>The second panel departed from the paradoxically abstract and dizzying problem of materiality by posing questions about \The Urgency of the Real.\ Photographic practices that foster relationships among groups of people and record, commemorate, memorialize, give power to, or provide witness grounded the interchange between Deana Lawson, Chris Mottalini, and Margaret Olin. Moderator Doug Ischar, whose photographs of gay communities in Chicago and San Francisco in the 1980s documented what was at stake during the AIDS crisis, and whose strikingly formalist and homoerotic films were screened in an adjoining room, described his commitment as being not to a material practice but to a set of issues. Olins latest project\u2014she is likewise working in a mode that was once called \engaged\\u2014consists of finding bystanders and participants in photographs that she took in 1970 at the first Gay Pride parade in Chicago. Mottalini has documented a series of homes designed by modernist architect Paul Rudolf that are abandoned and slated for demolition. His subjects, preserved in the book After You Left \/ They Took It Apart (2013), reveal the fragility of buildings, documenting very deliberately designed dwellings on the brink of disappearance. Lawson works with the present, composing, in collaboration with her subjects, large, lush photographs examining cultural and psychological dimensions of the black body in photographs.br>br>Returning to the ontological problems and the status of truth in the photographic image that introduced the symposium, Letinsky moderated the last panel with photographers Thomas Struth and Matthew Connors, along with intellectual historian Martin Jay. Struths incomparably lucid and monumental photographs, while often choreographed, nevertheless serve as documentation, while Connorss latest images from cities around the world are manipulated to add and subtract elements of the image, shifting any documentary function away from a single point in time or unified space, and modifying the process of production to implicitly question the indexical status of the photographic image. Jay asked, \Can photographers lie?\ and quoted Theodor Adornos \Art is magic free from the lie of being true\ as a way to offer perspective on the polarities between constructed and recorded realities, and their implications for what one of the panelists described as meaning and resistance to meaningfulness.br>br>In response to photographers roles as witnesses and their commitment to the real raised by the second panel and extended here, Connors remarked, \I do consider myself to be a witness, but a calculating and complicated witness,\ articulating a fluid postmodernist position on the problem of truth in contrast to Struths commitment to a critical understanding of things as they are. Connorss stance reflected the meanings of the term \slippage\ used in the panel title \Slippage of the Description,\ borrowed from the field of semiotics and referring to the possibility for multiple significations and the possibility for play between signifiers and signifieds.br>br>At the end of the day, the twelve panelists and moderators came back together for a concluding discussion. 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3},name:r63wghnwzv5os2cskxmg.jpg,hash:64bf6fa02233f0af0b48132b844433c76a312dcea699a3af1d3e9ebfd0cb8324,width:468,height:600,sort:0,exclude_from_backdrop:false,date_added:1604802105},{id:88071013,project_id:16177766,image_ref:{image 4},name:afterimage-unsuspending.jpg,hash:dd929b2f997da9c746000e953093942aaf8a4a2148012c2c5b88fad2cfeb5b08,width:1470,height:1800,sort:0,exclude_from_backdrop:false,date_added:1604802105},backdrop:null},{id:16177767,site_id:868680,project_url:ud-text-copy,direct_link:https:\/\/matthewconnors.com\/ud-text-copy,type:page,title:ud text copy,title_no_html:ud text copy,tags:,display:false,pin:true,pin_options:{position:top,overlay:false,fixed:false,exclude_mobile:false,exclude_desktop:true,accommodate:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:Unsuspending Disbelief: The Subject of Pictures\nJanina Ciezadlo\nafterimage (Jan\/Feb, 2015)\n\nLaura Letinsky, professor in the Department of Visual Arts at the...,content:div style\text-align: left;\>br>\nb>Unsuspending Disbelief: The Subject of Pictures\/b>br>Janina Ciezadlobr>i>afterimage\/i> (Jan\/Feb, 2015)br>br>Laura Letinsky, professor in the Department of Visual Arts at the University of Chicago, whose lush enigmatic photographs of tabletops, food, and flowers have become increasingly abstract, organized a daylong symposium at the Gray Center for Arts and Inquiry for twelve working photographers and theorists, including herself, to convene and discuss the state of contemporary photographic practice. Letinsky launched what she proposed as an \ongoing conversation,\ on \The Subject of Pictures,\ with the conceit that suspending disbelief\u2014part of the agreement between reader and storyteller that makes fiction possible\u2014is not necessarily part of the photographic exchange because, as Letinsky said, in the words of Diane Arbus, \with photography there is always the real.\br>br>Shane Huffman, whose photographs record the movement of microwaves and cosmic background radiation, moderated the first panel, which was comprised of Anthony Elms, curator of the 2014 Whitney Biennial, and Barbara Kasten and Daniel Gordon, colorists who both photograph scenes (architectural sculpture and appropriated elements to form still lifes) constructed for the camera. The panelists considered questions framed by the topic \The Materiality of the Image,\ while sitting in chairs flanked by their images displayed on an alternating loop.br>br>Huffman proposed a definition of photography as a domain (covering light, space, time, event, and movement) rather than a medium, in an abstruse but critical discussion concerning the function of photography as a process that depicts or records. The groups necessarily inconclusive considerations moved on to questions concerning time as it affects depiction and recording: durational exposures, decisive moments, a shift of time to the process of construction, and subjective experiences of time.br>br>The second panel departed from the paradoxically abstract and dizzying problem of materiality by posing questions about \The Urgency of the Real.\ Photographic practices that foster relationships among groups of people and record, commemorate, memorialize, give power to, or provide witness grounded the interchange between Deana Lawson, Chris Mottalini, and Margaret Olin. Moderator Doug Ischar, whose photographs of gay communities in Chicago and San Francisco in the 1980s documented what was at stake during the AIDS crisis, and whose strikingly formalist and homoerotic films were screened in an adjoining room, described his commitment as being not to a material practice but to a set of issues. Olins latest project\u2014she is likewise working in a mode that was once called \engaged\\u2014consists of finding bystanders and participants in photographs that she took in 1970 at the first Gay Pride parade in Chicago. Mottalini has documented a series of homes designed by modernist architect Paul Rudolf that are abandoned and slated for demolition. His subjects, preserved in the book After You Left \/ They Took It Apart (2013), reveal the fragility of buildings, documenting very deliberately designed dwellings on the brink of disappearance. Lawson works with the present, composing, in collaboration with her subjects, large, lush photographs examining cultural and psychological dimensions of the black body in photographs.br>br>Returning to the ontological problems and the status of truth in the photographic image that introduced the symposium, Letinsky moderated the last panel with photographers Thomas Struth and Matthew Connors, along with intellectual historian Martin Jay. Struths incomparably lucid and monumental photographs, while often choreographed, nevertheless serve as documentation, while Connorss latest images from cities around the world are manipulated to add and subtract elements of the image, shifting any documentary function away from a single point in time or unified space, and modifying the process of production to implicitly question the indexical status of the photographic image. Jay asked, \Can photographers lie?\ and quoted Theodor Adornos \Art is magic free from the lie of being true\ as a way to offer perspective on the polarities between constructed and recorded realities, and their implications for what one of the panelists described as meaning and resistance to meaningfulness.br>br>In response to photographers roles as witnesses and their commitment to the real raised by the second panel and extended here, Connors remarked, \I do consider myself to be a witness, but a calculating and complicated witness,\ articulating a fluid postmodernist position on the problem of truth in contrast to Struths commitment to a critical understanding of things as they are. Connorss stance reflected the meanings of the term \slippage\ used in the panel title \Slippage of the Description,\ borrowed from the field of semiotics and referring to the possibility for multiple significations and the possibility for play between signifiers and signifieds.br>br>At the end of the day, the twelve panelists and moderators came back together for a concluding discussion. While some subjects were launched and shifted course throughout the symposium, the unfolding of ideas among this important and dynamic group of photographers, curators, and thinkers gave a privileged view of the questions at hand on the subject of pictures.\/div>br>,content_no_html:\nUnsuspending Disbelief: The Subject of PicturesJanina Ciezadloafterimage (Jan\/Feb, 2015)Laura Letinsky, professor in the Department of Visual Arts at the University of Chicago, whose lush enigmatic photographs of tabletops, food, and flowers have become increasingly abstract, organized a daylong symposium at the Gray Center for Arts and Inquiry for twelve working photographers and theorists, including herself, to convene and discuss the state of contemporary photographic practice. Letinsky launched what she proposed as an \ongoing conversation,\ on \The Subject of Pictures,\ with the conceit that suspending disbelief\u2014part of the agreement between reader and storyteller that makes fiction possible\u2014is not necessarily part of the photographic exchange because, as Letinsky said, in the words of Diane Arbus, \with photography there is always the real.\Shane Huffman, whose photographs record the movement of microwaves and cosmic background radiation, moderated the first panel, which was comprised of Anthony Elms, curator of the 2014 Whitney Biennial, and Barbara Kasten and Daniel Gordon, colorists who both photograph scenes (architectural sculpture and appropriated elements to form still lifes) constructed for the camera. The panelists considered questions framed by the topic \The Materiality of the Image,\ while sitting in chairs flanked by their images displayed on an alternating loop.Huffman proposed a definition of photography as a domain (covering light, space, time, event, and movement) rather than a medium, in an abstruse but critical discussion concerning the function of photography as a process that depicts or records. The groups necessarily inconclusive considerations moved on to questions concerning time as it affects depiction and recording: durational exposures, decisive moments, a shift of time to the process of construction, and subjective experiences of time.The second panel departed from the paradoxically abstract and dizzying problem of materiality by posing questions about \The Urgency of the Real.\ Photographic practices that foster relationships among groups of people and record, commemorate, memorialize, give power to, or provide witness grounded the interchange between Deana Lawson, Chris Mottalini, and Margaret Olin. Moderator Doug Ischar, whose photographs of gay communities in Chicago and San Francisco in the 1980s documented what was at stake during the AIDS crisis, and whose strikingly formalist and homoerotic films were screened in an adjoining room, described his commitment as being not to a material practice but to a set of issues. Olins latest project\u2014she is likewise working in a mode that was once called \engaged\\u2014consists of finding bystanders and participants in photographs that she took in 1970 at the first Gay Pride parade in Chicago. Mottalini has documented a series of homes designed by modernist architect Paul Rudolf that are abandoned and slated for demolition. His subjects, preserved in the book After You Left \/ They Took It Apart (2013), reveal the fragility of buildings, documenting very deliberately designed dwellings on the brink of disappearance. Lawson works with the present, composing, in collaboration with her subjects, large, lush photographs examining cultural and psychological dimensions of the black body in photographs.Returning to the ontological problems and the status of truth in the photographic image that introduced the symposium, Letinsky moderated the last panel with photographers Thomas Struth and Matthew Connors, along with intellectual historian Martin Jay. Struths incomparably lucid and monumental photographs, while often choreographed, nevertheless serve as documentation, while Connorss latest images from cities around the world are manipulated to add and subtract elements of the image, shifting any documentary function away from a single point in time or unified space, and modifying the process of production to implicitly question the indexical status of the photographic image. Jay asked, \Can photographers lie?\ and quoted Theodor Adornos \Art is magic free from the lie of being true\ as a way to offer perspective on the polarities between constructed and recorded realities, and their implications for what one of the panelists described as meaning and resistance to meaningfulness.In response to photographers roles as witnesses and their commitment to the real raised by the second panel and extended here, Connors remarked, \I do consider myself to be a witness, but a calculating and complicated witness,\ articulating a fluid postmodernist position on the problem of truth in contrast to Struths commitment to a critical understanding of things as they are. Connorss stance reflected the meanings of the term \slippage\ used in the panel title \Slippage of the Description,\ borrowed from the field of semiotics and referring to the possibility for multiple significations and the possibility for play between signifiers and signifieds.At the end of the day, the twelve panelists and moderators came back together for a concluding discussion. While some subjects were launched and shifted course throughout the symposium, the unfolding of ideas among this important and dynamic group of photographers, curators, and thinkers gave a privileged view of the questions at hand on the subject of pictures.,content_partial_html:br>\nb>Unsuspending Disbelief: The Subject of Pictures\/b>br>Janina Ciezadlobr>i>afterimage\/i> (Jan\/Feb, 2015)br>br>Laura Letinsky, professor in the Department of Visual Arts at the University of Chicago, whose lush enigmatic photographs of tabletops, food, and flowers have become increasingly abstract, organized a daylong symposium at the Gray Center for Arts and Inquiry for twelve working photographers and theorists, including herself, to convene and discuss the state of contemporary photographic practice. Letinsky launched what she proposed as an \ongoing conversation,\ on \The Subject of Pictures,\ with the conceit that suspending disbelief\u2014part of the agreement between reader and storyteller that makes fiction possible\u2014is not necessarily part of the photographic exchange because, as Letinsky said, in the words of Diane Arbus, \with photography there is always the real.\br>br>Shane Huffman, whose photographs record the movement of microwaves and cosmic background radiation, moderated the first panel, which was comprised of Anthony Elms, curator of the 2014 Whitney Biennial, and Barbara Kasten and Daniel Gordon, colorists who both photograph scenes (architectural sculpture and appropriated elements to form still lifes) constructed for the camera. The panelists considered questions framed by the topic \The Materiality of the Image,\ while sitting in chairs flanked by their images displayed on an alternating loop.br>br>Huffman proposed a definition of photography as a domain (covering light, space, time, event, and movement) rather than a medium, in an abstruse but critical discussion concerning the function of photography as a process that depicts or records. The groups necessarily inconclusive considerations moved on to questions concerning time as it affects depiction and recording: durational exposures, decisive moments, a shift of time to the process of construction, and subjective experiences of time.br>br>The second panel departed from the paradoxically abstract and dizzying problem of materiality by posing questions about \The Urgency of the Real.\ Photographic practices that foster relationships among groups of people and record, commemorate, memorialize, give power to, or provide witness grounded the interchange between Deana Lawson, Chris Mottalini, and Margaret Olin. Moderator Doug Ischar, whose photographs of gay communities in Chicago and San Francisco in the 1980s documented what was at stake during the AIDS crisis, and whose strikingly formalist and homoerotic films were screened in an adjoining room, described his commitment as being not to a material practice but to a set of issues. Olins latest project\u2014she is likewise working in a mode that was once called \engaged\\u2014consists of finding bystanders and participants in photographs that she took in 1970 at the first Gay Pride parade in Chicago. Mottalini has documented a series of homes designed by modernist architect Paul Rudolf that are abandoned and slated for demolition. His subjects, preserved in the book After You Left \/ They Took It Apart (2013), reveal the fragility of buildings, documenting very deliberately designed dwellings on the brink of disappearance. Lawson works with the present, composing, in collaboration with her subjects, large, lush photographs examining cultural and psychological dimensions of the black body in photographs.br>br>Returning to the ontological problems and the status of truth in the photographic image that introduced the symposium, Letinsky moderated the last panel with photographers Thomas Struth and Matthew Connors, along with intellectual historian Martin Jay. Struths incomparably lucid and monumental photographs, while often choreographed, nevertheless serve as documentation, while Connorss latest images from cities around the world are manipulated to add and subtract elements of the image, shifting any documentary function away from a single point in time or unified space, and modifying the process of production to implicitly question the indexical status of the photographic image. Jay asked, \Can photographers lie?\ and quoted Theodor Adornos \Art is magic free from the lie of being true\ as a way to offer perspective on the polarities between constructed and recorded realities, and their implications for what one of the panelists described as meaning and resistance to meaningfulness.br>br>In response to photographers roles as witnesses and their commitment to the real raised by the second panel and extended here, Connors remarked, \I do consider myself to be a witness, but a calculating and complicated witness,\ articulating a fluid postmodernist position on the problem of truth in contrast to Struths commitment to a critical understanding of things as they are. Connorss stance reflected the meanings of the term \slippage\ used in the panel title \Slippage of the Description,\ borrowed from the field of semiotics and referring to the possibility for multiple significations and the possibility for play between signifiers and signifieds.br>br>At the end of the day, the twelve panelists and moderators came back together for a concluding discussion. While some subjects were launched and shifted course throughout the symposium, the unfolding of ideas among this important and dynamic group of photographers, curators, and thinkers gave a privileged view of the questions at hand on the subject of pictures.br>,thumb:,thumb_meta:null,thumb_is_visible:false,sort:76,index:0,set_id:16049532,page_options:{using_local_css:true,local_css:local-style\16177767\ .container_width {\n\twidth: 67% \/*!variable_defaults*\/;\n}\n\nlocal-style\16177767\ body {\n\tbackground-color: initial \/*!variable_defaults*\/;\n}\n\nlocal-style\16177767\ .backdrop {\n\twidth: 100% \/*!background_cover*\/;\n}\n\nlocal-style\16177767\ .page {\n}\n\nlocal-style\16177767\ .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\nlocal-style\16177767\ .content_padding {\n\tpadding-top: 1.5rem \/*!main_margin*\/;\n\tpadding-bottom: 1.5rem \/*!main_margin*\/;\n\tpadding-left: 1.5rem \/*!main_margin*\/;\n\tpadding-right: 2.5rem 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data-mid\87256804\ border\0\ \/>img width\1863\ height\1204\ width_o\1863\ height_o\1204\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/3a6ee83ad52b93af1edbf010a4092ede9c00aff7f8f46c224031d96e07e187fb\/davies_FiCreview_britjourphoto_jun2015-6.jpg\ data-mid\87256805\ border\0\ \/>img width\1863\ height\1204\ width_o\1863\ height_o\1204\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/48bf1a7d773763b2918c5c8cdc5ab117247832118ce6ece566cf6ae980cc89fb\/davies_FiCreview_britjourphoto_jun2015-9.jpg\ data-mid\87256806\ border\0\ \/>\na href\https:\/\/www.bjp-online.com\/2015\/06\/fire-in-cairo\/\ target\_blank\>British Journal of Photography website\/a>,content_no_html:{image 5 no-zoom}{image 6}{image 7}{image 8}{image 9}\nBritish Journal of Photography website,content_partial_html:br>br>br>img width\933\ height\1204\ width_o\933\ height_o\1204\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/2e9296f558b69d5f0c6f574c73a5fbd063962ce63bccce1a78d4856b5fefe3f1\/davies_FiCreview_britjourphoto_jun2015-1.jpg\ data-mid\87256802\ border\0\ data-no-zoom\/>img width\1863\ height\1204\ width_o\1863\ height_o\1204\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/f78200801d65958b86a83bca241e47ded3bef754758e4f133de2302cb1886b3e\/davies_FiCreview_britjourphoto_jun2015-2.jpg\ data-mid\87256803\ border\0\ \/>img width\1863\ height\1204\ width_o\1863\ height_o\1204\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/a0924b0ad61278fa975673be7f59acaba1f223be0bcfe96d8f431cd47540b798\/davies_FiCreview_britjourphoto_jun2015-4.jpg\ data-mid\87256804\ border\0\ \/>img width\1863\ height\1204\ width_o\1863\ height_o\1204\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/3a6ee83ad52b93af1edbf010a4092ede9c00aff7f8f46c224031d96e07e187fb\/davies_FiCreview_britjourphoto_jun2015-6.jpg\ data-mid\87256805\ border\0\ \/>img width\1863\ height\1204\ width_o\1863\ height_o\1204\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/48bf1a7d773763b2918c5c8cdc5ab117247832118ce6ece566cf6ae980cc89fb\/davies_FiCreview_britjourphoto_jun2015-9.jpg\ data-mid\87256806\ border\0\ \/>\na href\https:\/\/www.bjp-online.com\/2015\/06\/fire-in-cairo\/\ target\_blank\>British Journal of Photography website\/a>,thumb:87256802,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{width:933,height:1204,file_size:404737,mid:87256802,name:davies_FiCreview_britjourphoto_jun2015-1.jpg,hash:2e9296f558b69d5f0c6f574c73a5fbd063962ce63bccce1a78d4856b5fefe3f1,page_id:16051062,id:87256802,project_id:16051062,image_ref:{image 5},sort:0,exclude_from_backdrop:false,date_added:1604196544,duplicate:false},stored:{ratio:129.04608788853,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:false,sort:78,index:0,set_id:16051058,page_options:{using_local_css:true,local_css:local-style\16051062\ .container_width {\n\twidth: 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8},name:davies_FiCreview_britjourphoto_jun2015-6.jpg,hash:3a6ee83ad52b93af1edbf010a4092ede9c00aff7f8f46c224031d96e07e187fb,width:1863,height:1204,sort:0,exclude_from_backdrop:false,date_added:1604196545},{id:87256806,project_id:16051062,image_ref:{image 9},name:davies_FiCreview_britjourphoto_jun2015-9.jpg,hash:48bf1a7d773763b2918c5c8cdc5ab117247832118ce6ece566cf6ae980cc89fb,width:1863,height:1204,sort:0,exclude_from_backdrop:false,date_added:1604196545},backdrop:null},{id:16051063,site_id:868680,project_url:BJP-text,direct_link:https:\/\/matthewconnors.com\/BJP-text,type:page,title:BJP text,title_no_html:BJP text,tags:,display:false,pin:true,pin_options:{position:top,overlay:true,fixed:true,exclude_mobile:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:Fire in Cairo\nLucy Davies\nBritish Journal of Photography (June, 2015)\n\n\nThe images that came out of Matthew Connors\u2019 time in Egypt are \u201cdramatic and...,content:br>br>br>\ndiv style\text-align: left;\>b>Fire in Cairo\/b>br>Lucy Daviesbr>i>British Journal of Photography\/i> (June, 2015)br>br>br>blockquote>i>The images that came out of Matthew Connors\u2019 time in Egypt are \u201cdramatic and confusing\u201d, he tells Lucy Davies, reflecting his own sense of disorientation. As the bigger picture unfolded, he knew he wanted to do a photobook, and working in collaboration with Self Publish, Be Happy, it evolved into a study of urgent social changebr>\/i>\/blockquote>br>br>When in July 2013 Matthew Connors turned the key in the lock of his Brooklyn studio for the first time in a year, he had more than 27,000 image on the hard drive in his bag. A professor at the Massachusetts College of Art and Design in Boston since 2004 (he commutes once a week from New York City via train), he had spent the previous 12 months on sabbatical, travelling through Egypt and North Korea, photographing both.br>br>He had arrived in Cairo in the run-up tthe second anniversary of the January 25th Revolution of 2011, when Egyptians had taketo the streets to end the three-decade-long presidency of Hosni Mubarak, one of a seriesof uprisings across the Middle East that became known as the Arab Spring. Connors admits to being shocked when he first saw Tahrir Square, the location in the centre of Cairo where the protesters had congregated. \u201cI had come to know it mostly through journalistic images, wher it had been swarming with people and ful of encampments. But when I arrived in early January, none of that was there \u2013 the traffic was flowing. The only echo of this immense revolution was the graffiti on the walls.\u201dbr>br>Prior to his sabbatical, he had spent almost a year photographing resistance activists participating in New York\u2019s Occupy movement. Between 2011 and 2012 he visited sites of protest across the city, such as Zuccotti Park in lower Manhattan\u2019s financial district, where a disparate, leaderless band of protesters had come together, each for their own cause, but under the now infamous slogan, \u2018We are the 99%.\u2019br>br>\u201cAfter the movement got up a little steam and a fair amount of media attention, there was a sense of it being this continuous tourist experience,\u201d he told Big Red & Shiny magazine in 2013. \u201cPeople would go down to Ground Zero, they would go shopping at Century 21, and then swing by Zuccotti Park to almost aggressively take pictures, not interacting with anyone. I saw how photography was being used to distance people from the movement and make them spectators.\u201dbr>br>For his series i>General Assembly\/i>, Connors concocted a careful framework that was designed to initiate interactions with the protesters. He would take a portrait, talk to the subject about their involvement, obtain their contact information, email them the pictures, and then return with printed photographs to hand out. \u201cIt became an exchange of images and ideas,\u201d he says. \u201cOver time the pictures started to mean something different. After I had amassed several hundred, it became a portrait of the movement.\u201dbr>br>b>Social landscape\/b>br>Protest has always been something that 39-year-old Connors has had an affinity for, but until Occupy it had never found its way into his work. Having come to photography as a teen, \u201cI was of that generation that was seduced by the alchemy and the magic of the darkroom.\u201d Via an MFA in photography from Yale University, he had cut a furrow producing work that concerned, as he describes it, \u201curbanisation in a global context, the dynamics of interactions in the public sphere, the legacy of street photography, and the ontology of the medium during its recent technological evolution\u201d.br>br>The social landscape he discovered during the Occupy protests came to energise him like nothing else. Among the protestors he met in Zuccotti Park were a number of Egyptians who had come to New York following the success of their own demonstrations in Tahrir Square. \u201cAfter conversations with them, I felt like I really needed to see events in Cairo first hand,\u201d he says.br>br>He made arrangements to stay with a former student from his college who was in Egypt onbr>a Fulbright Scholarship. They all lived in an apartment in Giza, within walking distance from Tahrir Square, across the Nile.br>br>As the January 25th anniversary approached, protest activity began to ferment. \u201cCairo is a fascinating city in terms of its relationship to history,\u201d says Connors. \u201cYou have all these streets and bridges named with dates, so the past always seems present in the geography. As significant dates in the young history of the revolution came close, I would see people coalescing nearby.\u201dbr>br>Tahrir was often a site of activity, and because of its proximity to his apartment, Connors would make a point of passing through first thing in the morning to see what might be happening. But just as often, he\u2019d witness activity at the Presidential Palace in Heliopolis, the Ultras stadium in Gezira, Qubba palace, the Qasr al-Nil bridge, other parts of downtown Cairo and later at the Muslim Brotherhood encampments at Rabaa Al-Adawiya mosque and Cairo University.br>br>\u201cIt took me a while to understand the rhythms of the city,\u201d says Connors. \u201cFridays were often really significant, usually accompanied by a strong outpouring of protest. I photographed whenever I could, but at some point in May it became almost unbearably hot, so I only went out to take pictures early in the morning. Things really slowed down as we got closer to Ramadan.\u201dbr>br>Many of the pictures he took came in these \u201cinterstitial moments\u201d, as he terms them, where he was simply walking around the city, either between sites of protest or early morning before anything was happening. Often it was a means of processing his experience, which he says was often marked by a feeling of unease. \u201cMy instincts weren\u2019t always very good. I put myself in some pretty dangerous situations. I was shot with a tear gas canister once and it knocked me to the ground. At the time I thought it wasn\u2019t that big a deal, but about a week before I left a young American college student was doing something relatively similar to what I was doing \u2013 standing on the periphery of a street conflict \u2013 and was stabbed in the chest. He died from that wound.\u201dbr>br>He also felt uneasy about his position as omniscient narrator. \u201cI couldn\u2019t tell the story in the same way as I might have done in America,\u201d he explains. \u201cI was hampered by not being fluent in Arabic but, more importantly, by a general lack of expertise in the political dynamics of Egypt, which are incredibly layered. I think a lot of the work I made was conscious of that lack of authority. The pictures that came out of it are often dramatic and confusing, and that really mimics my experience there. they are highly subjective \u2013 and they are meant to be.\u201dbr>br>b>Sequence and repeat\/b>br>The work he made in Egypt, titled Fire in Cairo, is soon to be published under the Self Publish, Be Happy helm. \u201cI always knew I wanted to do a book,\u201d says Connors, \u201cand it definitely changed the way I was thinking about photographing when I was there. The work I was making before was very much meant to be on the wall, but here I knew I wanted to incorporate writing, and when I was photographing I was o!en thinking about how the images would look in sequence and in relationship with each other.\u201dbr>br>He also knew who he wanted to self-publish with: \u201cMore than anything I wanted to work with Bruno Ceschel and Tony art director Antonio de Luca. They had already included me in a small pamphlet they had published that had been curated by Nicholas Muellner, and I knew from that and other things they have produced that they have a real dedication to the book as an object. I think they are really pushing the boundaries of what a photobook can be, and they have the wherewithal and the imagination to do it. I wanted to be paired with that.\u201dbr>br>The book has taken quite some time to put together, not least because he suffered what he describes as \u201cpre\y severe whiplash going from Cairo to the States\u201d. He started teaching again right away and transitioned into being chair of his department, \u201cwhich demanded an incredible amount of my attention\u201d. But even aside from that, he needed time to digest the original cache of 20,000 images, which he and Ceschel had to whi\le down to around 90.br>br>His first draft was made at a friend\u2019s cabin in Massachusetts, with nothing but his dog for company. After that, it went to Ceschel and back, to Connors\u2019 friends and back, to de Luca and back to Connors again. The object has been a real collaboration. The way my book has developed under their guiding hands is better than I could have done on my own,\u201d says Connors.br>br>\u201cIt took a long time to build the sequence,\u201d says Ceschel, \u201cbecause of the sheer amount of work we had to sift through. But that process really defined the book. Matthew had shot quite a lot of explicitly violent photos, for example; scenes of things he had seen in the street. As we began the edit we realised the book was more powerful without these images. We were trying to build this sense of general threat, of impending violence, and hope, but never quite showing it. The traces were more interesting. Besides, those other kinds of images had already been covered.\u201dbr>br>The sequence includes a number of what appear to be repeated images, but which on closer inspection reveal themselves as two shots of the same person taken one a!er the other. \u201cWhenbr>I saw those \u2013 and Matthew was quite keen on keeping them \u2013 I was, like, \u2018Oh, they do something, but I couldn\u2019t tell you why,\u2019\u201d says Ceschel, continuing: \u201cMatthew had set a mood, and sometimes mood is not about objective reason.\u201dbr>br>In a similar vein, the book also includes a number of repeated themes \u2013 the sky, helicopters, the green laser pens that became a distinctive feature of the protests. \u201cTo me they are like notes in a song,\u201d says Ceschel, \u201cand they increase your sense of wariness and beauty.\u201dbr>br>\u201cWhen I was photographing early on, I was creating these categories,\u201d says Connors. \u201cSo I was photographing fire, then looking for tear gas clouds, concrete barriers, layers of spray paint. Green laser pointers became a very strong motif.\u201dbr>br>The book starts in one place and ends somewhere very different \u2013 \u201cthere\u2019s a real trajectory,\u201d says Connors. \u201cIt builds. It swings between the familiar and the unfamiliar, and it maintains tension between beauty and threat and historical consequence \u2013 it\u2019s meant to keep you off balance. The ambiguity and the discomfort that builds throughout \u2013 you wouldn\u2019t experience that outside of the book form. And a lot of that was executed by the way the book is laid out.\u201dbr>br>Talking of which, the book can be read either back to front or front to back: in part a nod tobr>the way the Arabic-speaking population of Egypt read their texts, but it also functions as a means of disorienting the reader. The sequence of image works either way, but reading from left to right, as it were, where Connors\u2019 short story appears at the end, one immediately wants to read backwards. Try it the other way and the mood on completion is very different. I went forward, then back, then forward again \u2013 you could do this 20 times and still feel that you hadn\u2019t quite understood it, but perhaps that is part of the draw. Which of us can say we fully understand the politics of the Arab Spring? When I ask Connors why the sequence is backwards, he replies with his own question, \u201cIs it?\u201dbr>br>The common experience of reading a book is legibility; the process of turning the pages right to left, second nature. There are tiny tweaks to the design \u2013 flipping some of the images so they feel odd, increasing the size of the images by millimetres in one direction. \u201cHe\u2019s very clever,\u201d says Ceschel, \u201cbecause the more time you spend with that book, the more that sense of certainty disappears. You read a version of the story and that tells you something, but then you find yourself doubting and reconsidering.\u201dbr>br>b>Truthful fiction\/b>br>\u201cI came to see the whole city as a kind of studio for social change,\u201d says Connors, \u201cand so a lot of the pictures are visual or sculptural atmospheres that convey only residues of the turmoil. I was hoping to make something that was able to convey a kind of emotional urgency of Egypt\u2019s revolutionary aspirations; to convey the sense of threat that I experienced all the time, but also this beauty and a kind of mystery.\u201dbr>br>Included in the book is a short story Connors wrote. Its tempo is inspired, he says, by the work of Donald Barthelme, whose fiction he first read in college (as an undergraduate he majored in literature) and to whom he has returned on and off ever since. \u201cThere are a few stories he has written where he uses these kinds of swift, verbal collage that blend violence and longing and uncertainty, and I think that really resonated with my experiences in Cairo. In a lot of ways, I tried to imitate him \u2013 and completely failed, as many others who have tried to imitate him have failed \u2013 but I know that that combination of story and images was really important for the book.\u201dbr>br>Connors\u2019 departure from Cairo coincided with the ousting of President Morsi. Even with 20,000 images under his belt, he felt he could have stayed longer and taken more. \u201cI knew there were things I was missing, but at the same time I didn\u2019t feel like I was trying to tell a comprehensive story. Ultimately, the book and the work exist as a kind of fiction \u2013 the short story in the book is meant to signal that.\u201dbr>\/div>br>,content_no_html:\nFire in CairoLucy DaviesBritish Journal of Photography (June, 2015)The images that came out of Matthew Connors\u2019 time in Egypt are \u201cdramatic and confusing\u201d, he tells Lucy Davies, reflecting his own sense of disorientation. As the bigger picture unfolded, he knew he wanted to do a photobook, and working in collaboration with Self Publish, Be Happy, it evolved into a study of urgent social changeWhen in July 2013 Matthew Connors turned the key in the lock of his Brooklyn studio for the first time in a year, he had more than 27,000 image on the hard drive in his bag. A professor at the Massachusetts College of Art and Design in Boston since 2004 (he commutes once a week from New York City via train), he had spent the previous 12 months on sabbatical, travelling through Egypt and North Korea, photographing both.He had arrived in Cairo in the run-up tthe second anniversary of the January 25th Revolution of 2011, when Egyptians had taketo the streets to end the three-decade-long presidency of Hosni Mubarak, one of a seriesof uprisings across the Middle East that became known as the Arab Spring. Connors admits to being shocked when he first saw Tahrir Square, the location in the centre of Cairo where the protesters had congregated. \u201cI had come to know it mostly through journalistic images, wher it had been swarming with people and ful of encampments. But when I arrived in early January, none of that was there \u2013 the traffic was flowing. The only echo of this immense revolution was the graffiti on the walls.\u201dPrior to his sabbatical, he had spent almost a year photographing resistance activists participating in New York\u2019s Occupy movement. Between 2011 and 2012 he visited sites of protest across the city, such as Zuccotti Park in lower Manhattan\u2019s financial district, where a disparate, leaderless band of protesters had come together, each for their own cause, but under the now infamous slogan, \u2018We are the 99%.\u2019\u201cAfter the movement got up a little steam and a fair amount of media attention, there was a sense of it being this continuous tourist experience,\u201d he told Big Red & Shiny magazine in 2013. \u201cPeople would go down to Ground Zero, they would go shopping at Century 21, and then swing by Zuccotti Park to almost aggressively take pictures, not interacting with anyone. I saw how photography was being used to distance people from the movement and make them spectators.\u201dFor his series General Assembly, Connors concocted a careful framework that was designed to initiate interactions with the protesters. He would take a portrait, talk to the subject about their involvement, obtain their contact information, email them the pictures, and then return with printed photographs to hand out. \u201cIt became an exchange of images and ideas,\u201d he says. \u201cOver time the pictures started to mean something different. After I had amassed several hundred, it became a portrait of the movement.\u201dSocial landscapeProtest has always been something that 39-year-old Connors has had an affinity for, but until Occupy it had never found its way into his work. Having come to photography as a teen, \u201cI was of that generation that was seduced by the alchemy and the magic of the darkroom.\u201d Via an MFA in photography from Yale University, he had cut a furrow producing work that concerned, as he describes it, \u201curbanisation in a global context, the dynamics of interactions in the public sphere, the legacy of street photography, and the ontology of the medium during its recent technological evolution\u201d.The social landscape he discovered during the Occupy protests came to energise him like nothing else. Among the protestors he met in Zuccotti Park were a number of Egyptians who had come to New York following the success of their own demonstrations in Tahrir Square. \u201cAfter conversations with them, I felt like I really needed to see events in Cairo first hand,\u201d he says.He made arrangements to stay with a former student from his college who was in Egypt ona Fulbright Scholarship. They all lived in an apartment in Giza, within walking distance from Tahrir Square, across the Nile.As the January 25th anniversary approached, protest activity began to ferment. \u201cCairo is a fascinating city in terms of its relationship to history,\u201d says Connors. \u201cYou have all these streets and bridges named with dates, so the past always seems present in the geography. As significant dates in the young history of the revolution came close, I would see people coalescing nearby.\u201dTahrir was often a site of activity, and because of its proximity to his apartment, Connors would make a point of passing through first thing in the morning to see what might be happening. But just as often, he\u2019d witness activity at the Presidential Palace in Heliopolis, the Ultras stadium in Gezira, Qubba palace, the Qasr al-Nil bridge, other parts of downtown Cairo and later at the Muslim Brotherhood encampments at Rabaa Al-Adawiya mosque and Cairo University.\u201cIt took me a while to understand the rhythms of the city,\u201d says Connors. \u201cFridays were often really significant, usually accompanied by a strong outpouring of protest. I photographed whenever I could, but at some point in May it became almost unbearably hot, so I only went out to take pictures early in the morning. Things really slowed down as we got closer to Ramadan.\u201dMany of the pictures he took came in these \u201cinterstitial moments\u201d, as he terms them, where he was simply walking around the city, either between sites of protest or early morning before anything was happening. Often it was a means of processing his experience, which he says was often marked by a feeling of unease. \u201cMy instincts weren\u2019t always very good. I put myself in some pretty dangerous situations. I was shot with a tear gas canister once and it knocked me to the ground. At the time I thought it wasn\u2019t that big a deal, but about a week before I left a young American college student was doing something relatively similar to what I was doing \u2013 standing on the periphery of a street conflict \u2013 and was stabbed in the chest. He died from that wound.\u201dHe also felt uneasy about his position as omniscient narrator. \u201cI couldn\u2019t tell the story in the same way as I might have done in America,\u201d he explains. \u201cI was hampered by not being fluent in Arabic but, more importantly, by a general lack of expertise in the political dynamics of Egypt, which are incredibly layered. I think a lot of the work I made was conscious of that lack of authority. The pictures that came out of it are often dramatic and confusing, and that really mimics my experience there. they are highly subjective \u2013 and they are meant to be.\u201dSequence and repeatThe work he made in Egypt, titled Fire in Cairo, is soon to be published under the Self Publish, Be Happy helm. \u201cI always knew I wanted to do a book,\u201d says Connors, \u201cand it definitely changed the way I was thinking about photographing when I was there. The work I was making before was very much meant to be on the wall, but here I knew I wanted to incorporate writing, and when I was photographing I was o!en thinking about how the images would look in sequence and in relationship with each other.\u201dHe also knew who he wanted to self-publish with: \u201cMore than anything I wanted to work with Bruno Ceschel and Tony art director Antonio de Luca. They had already included me in a small pamphlet they had published that had been curated by Nicholas Muellner, and I knew from that and other things they have produced that they have a real dedication to the book as an object. I think they are really pushing the boundaries of what a photobook can be, and they have the wherewithal and the imagination to do it. I wanted to be paired with that.\u201dThe book has taken quite some time to put together, not least because he suffered what he describes as \u201cpre\y severe whiplash going from Cairo to the States\u201d. He started teaching again right away and transitioned into being chair of his department, \u201cwhich demanded an incredible amount of my attention\u201d. But even aside from that, he needed time to digest the original cache of 20,000 images, which he and Ceschel had to whi\le down to around 90.His first draft was made at a friend\u2019s cabin in Massachusetts, with nothing but his dog for company. After that, it went to Ceschel and back, to Connors\u2019 friends and back, to de Luca and back to Connors again. The object has been a real collaboration. The way my book has developed under their guiding hands is better than I could have done on my own,\u201d says Connors.\u201cIt took a long time to build the sequence,\u201d says Ceschel, \u201cbecause of the sheer amount of work we had to sift through. But that process really defined the book. Matthew had shot quite a lot of explicitly violent photos, for example; scenes of things he had seen in the street. As we began the edit we realised the book was more powerful without these images. We were trying to build this sense of general threat, of impending violence, and hope, but never quite showing it. The traces were more interesting. Besides, those other kinds of images had already been covered.\u201dThe sequence includes a number of what appear to be repeated images, but which on closer inspection reveal themselves as two shots of the same person taken one a!er the other. \u201cWhenI saw those \u2013 and Matthew was quite keen on keeping them \u2013 I was, like, \u2018Oh, they do something, but I couldn\u2019t tell you why,\u2019\u201d says Ceschel, continuing: \u201cMatthew had set a mood, and sometimes mood is not about objective reason.\u201dIn a similar vein, the book also includes a number of repeated themes \u2013 the sky, helicopters, the green laser pens that became a distinctive feature of the protests. \u201cTo me they are like notes in a song,\u201d says Ceschel, \u201cand they increase your sense of wariness and beauty.\u201d\u201cWhen I was photographing early on, I was creating these categories,\u201d says Connors. \u201cSo I was photographing fire, then looking for tear gas clouds, concrete barriers, layers of spray paint. Green laser pointers became a very strong motif.\u201dThe book starts in one place and ends somewhere very different \u2013 \u201cthere\u2019s a real trajectory,\u201d says Connors. \u201cIt builds. It swings between the familiar and the unfamiliar, and it maintains tension between beauty and threat and historical consequence \u2013 it\u2019s meant to keep you off balance. The ambiguity and the discomfort that builds throughout \u2013 you wouldn\u2019t experience that outside of the book form. And a lot of that was executed by the way the book is laid out.\u201dTalking of which, the book can be read either back to front or front to back: in part a nod tothe way the Arabic-speaking population of Egypt read their texts, but it also functions as a means of disorienting the reader. The sequence of image works either way, but reading from left to right, as it were, where Connors\u2019 short story appears at the end, one immediately wants to read backwards. Try it the other way and the mood on completion is very different. I went forward, then back, then forward again \u2013 you could do this 20 times and still feel that you hadn\u2019t quite understood it, but perhaps that is part of the draw. Which of us can say we fully understand the politics of the Arab Spring? When I ask Connors why the sequence is backwards, he replies with his own question, \u201cIs it?\u201dThe common experience of reading a book is legibility; the process of turning the pages right to left, second nature. There are tiny tweaks to the design \u2013 flipping some of the images so they feel odd, increasing the size of the images by millimetres in one direction. \u201cHe\u2019s very clever,\u201d says Ceschel, \u201cbecause the more time you spend with that book, the more that sense of certainty disappears. You read a version of the story and that tells you something, but then you find yourself doubting and reconsidering.\u201dTruthful fiction\u201cI came to see the whole city as a kind of studio for social change,\u201d says Connors, \u201cand so a lot of the pictures are visual or sculptural atmospheres that convey only residues of the turmoil. I was hoping to make something that was able to convey a kind of emotional urgency of Egypt\u2019s revolutionary aspirations; to convey the sense of threat that I experienced all the time, but also this beauty and a kind of mystery.\u201dIncluded in the book is a short story Connors wrote. Its tempo is inspired, he says, by the work of Donald Barthelme, whose fiction he first read in college (as an undergraduate he majored in literature) and to whom he has returned on and off ever since. \u201cThere are a few stories he has written where he uses these kinds of swift, verbal collage that blend violence and longing and uncertainty, and I think that really resonated with my experiences in Cairo. In a lot of ways, I tried to imitate him \u2013 and completely failed, as many others who have tried to imitate him have failed \u2013 but I know that that combination of story and images was really important for the book.\u201dConnors\u2019 departure from Cairo coincided with the ousting of President Morsi. Even with 20,000 images under his belt, he felt he could have stayed longer and taken more. \u201cI knew there were things I was missing, but at the same time I didn\u2019t feel like I was trying to tell a comprehensive story. Ultimately, the book and the work exist as a kind of fiction \u2013 the short story in the book is meant to signal that.\u201d,content_partial_html:br>br>br>\nb>Fire in Cairo\/b>br>Lucy Daviesbr>i>British Journal of Photography\/i> (June, 2015)br>br>br>blockquote>i>The images that came out of Matthew Connors\u2019 time in Egypt are \u201cdramatic and confusing\u201d, he tells Lucy Davies, reflecting his own sense of disorientation. As the bigger picture unfolded, he knew he wanted to do a photobook, and working in collaboration with Self Publish, Be Happy, it evolved into a study of urgent social changebr>\/i>\/blockquote>br>br>When in July 2013 Matthew Connors turned the key in the lock of his Brooklyn studio for the first time in a year, he had more than 27,000 image on the hard drive in his bag. A professor at the Massachusetts College of Art and Design in Boston since 2004 (he commutes once a week from New York City via train), he had spent the previous 12 months on sabbatical, travelling through Egypt and North Korea, photographing both.br>br>He had arrived in Cairo in the run-up tthe second anniversary of the January 25th Revolution of 2011, when Egyptians had taketo the streets to end the three-decade-long presidency of Hosni Mubarak, one of a seriesof uprisings across the Middle East that became known as the Arab Spring. Connors admits to being shocked when he first saw Tahrir Square, the location in the centre of Cairo where the protesters had congregated. \u201cI had come to know it mostly through journalistic images, wher it had been swarming with people and ful of encampments. But when I arrived in early January, none of that was there \u2013 the traffic was flowing. The only echo of this immense revolution was the graffiti on the walls.\u201dbr>br>Prior to his sabbatical, he had spent almost a year photographing resistance activists participating in New York\u2019s Occupy movement. Between 2011 and 2012 he visited sites of protest across the city, such as Zuccotti Park in lower Manhattan\u2019s financial district, where a disparate, leaderless band of protesters had come together, each for their own cause, but under the now infamous slogan, \u2018We are the 99%.\u2019br>br>\u201cAfter the movement got up a little steam and a fair amount of media attention, there was a sense of it being this continuous tourist experience,\u201d he told Big Red & Shiny magazine in 2013. \u201cPeople would go down to Ground Zero, they would go shopping at Century 21, and then swing by Zuccotti Park to almost aggressively take pictures, not interacting with anyone. I saw how photography was being used to distance people from the movement and make them spectators.\u201dbr>br>For his series i>General Assembly\/i>, Connors concocted a careful framework that was designed to initiate interactions with the protesters. He would take a portrait, talk to the subject about their involvement, obtain their contact information, email them the pictures, and then return with printed photographs to hand out. \u201cIt became an exchange of images and ideas,\u201d he says. \u201cOver time the pictures started to mean something different. After I had amassed several hundred, it became a portrait of the movement.\u201dbr>br>b>Social landscape\/b>br>Protest has always been something that 39-year-old Connors has had an affinity for, but until Occupy it had never found its way into his work. Having come to photography as a teen, \u201cI was of that generation that was seduced by the alchemy and the magic of the darkroom.\u201d Via an MFA in photography from Yale University, he had cut a furrow producing work that concerned, as he describes it, \u201curbanisation in a global context, the dynamics of interactions in the public sphere, the legacy of street photography, and the ontology of the medium during its recent technological evolution\u201d.br>br>The social landscape he discovered during the Occupy protests came to energise him like nothing else. Among the protestors he met in Zuccotti Park were a number of Egyptians who had come to New York following the success of their own demonstrations in Tahrir Square. \u201cAfter conversations with them, I felt like I really needed to see events in Cairo first hand,\u201d he says.br>br>He made arrangements to stay with a former student from his college who was in Egypt onbr>a Fulbright Scholarship. They all lived in an apartment in Giza, within walking distance from Tahrir Square, across the Nile.br>br>As the January 25th anniversary approached, protest activity began to ferment. \u201cCairo is a fascinating city in terms of its relationship to history,\u201d says Connors. \u201cYou have all these streets and bridges named with dates, so the past always seems present in the geography. As significant dates in the young history of the revolution came close, I would see people coalescing nearby.\u201dbr>br>Tahrir was often a site of activity, and because of its proximity to his apartment, Connors would make a point of passing through first thing in the morning to see what might be happening. But just as often, he\u2019d witness activity at the Presidential Palace in Heliopolis, the Ultras stadium in Gezira, Qubba palace, the Qasr al-Nil bridge, other parts of downtown Cairo and later at the Muslim Brotherhood encampments at Rabaa Al-Adawiya mosque and Cairo University.br>br>\u201cIt took me a while to understand the rhythms of the city,\u201d says Connors. \u201cFridays were often really significant, usually accompanied by a strong outpouring of protest. I photographed whenever I could, but at some point in May it became almost unbearably hot, so I only went out to take pictures early in the morning. Things really slowed down as we got closer to Ramadan.\u201dbr>br>Many of the pictures he took came in these \u201cinterstitial moments\u201d, as he terms them, where he was simply walking around the city, either between sites of protest or early morning before anything was happening. Often it was a means of processing his experience, which he says was often marked by a feeling of unease. \u201cMy instincts weren\u2019t always very good. I put myself in some pretty dangerous situations. I was shot with a tear gas canister once and it knocked me to the ground. At the time I thought it wasn\u2019t that big a deal, but about a week before I left a young American college student was doing something relatively similar to what I was doing \u2013 standing on the periphery of a street conflict \u2013 and was stabbed in the chest. He died from that wound.\u201dbr>br>He also felt uneasy about his position as omniscient narrator. \u201cI couldn\u2019t tell the story in the same way as I might have done in America,\u201d he explains. \u201cI was hampered by not being fluent in Arabic but, more importantly, by a general lack of expertise in the political dynamics of Egypt, which are incredibly layered. I think a lot of the work I made was conscious of that lack of authority. The pictures that came out of it are often dramatic and confusing, and that really mimics my experience there. they are highly subjective \u2013 and they are meant to be.\u201dbr>br>b>Sequence and repeat\/b>br>The work he made in Egypt, titled Fire in Cairo, is soon to be published under the Self Publish, Be Happy helm. \u201cI always knew I wanted to do a book,\u201d says Connors, \u201cand it definitely changed the way I was thinking about photographing when I was there. The work I was making before was very much meant to be on the wall, but here I knew I wanted to incorporate writing, and when I was photographing I was o!en thinking about how the images would look in sequence and in relationship with each other.\u201dbr>br>He also knew who he wanted to self-publish with: \u201cMore than anything I wanted to work with Bruno Ceschel and Tony art director Antonio de Luca. They had already included me in a small pamphlet they had published that had been curated by Nicholas Muellner, and I knew from that and other things they have produced that they have a real dedication to the book as an object. I think they are really pushing the boundaries of what a photobook can be, and they have the wherewithal and the imagination to do it. I wanted to be paired with that.\u201dbr>br>The book has taken quite some time to put together, not least because he suffered what he describes as \u201cpre\y severe whiplash going from Cairo to the States\u201d. He started teaching again right away and transitioned into being chair of his department, \u201cwhich demanded an incredible amount of my attention\u201d. But even aside from that, he needed time to digest the original cache of 20,000 images, which he and Ceschel had to whi\le down to around 90.br>br>His first draft was made at a friend\u2019s cabin in Massachusetts, with nothing but his dog for company. After that, it went to Ceschel and back, to Connors\u2019 friends and back, to de Luca and back to Connors again. The object has been a real collaboration. The way my book has developed under their guiding hands is better than I could have done on my own,\u201d says Connors.br>br>\u201cIt took a long time to build the sequence,\u201d says Ceschel, \u201cbecause of the sheer amount of work we had to sift through. But that process really defined the book. Matthew had shot quite a lot of explicitly violent photos, for example; scenes of things he had seen in the street. As we began the edit we realised the book was more powerful without these images. We were trying to build this sense of general threat, of impending violence, and hope, but never quite showing it. The traces were more interesting. Besides, those other kinds of images had already been covered.\u201dbr>br>The sequence includes a number of what appear to be repeated images, but which on closer inspection reveal themselves as two shots of the same person taken one a!er the other. \u201cWhenbr>I saw those \u2013 and Matthew was quite keen on keeping them \u2013 I was, like, \u2018Oh, they do something, but I couldn\u2019t tell you why,\u2019\u201d says Ceschel, continuing: \u201cMatthew had set a mood, and sometimes mood is not about objective reason.\u201dbr>br>In a similar vein, the book also includes a number of repeated themes \u2013 the sky, helicopters, the green laser pens that became a distinctive feature of the protests. \u201cTo me they are like notes in a song,\u201d says Ceschel, \u201cand they increase your sense of wariness and beauty.\u201dbr>br>\u201cWhen I was photographing early on, I was creating these categories,\u201d says Connors. \u201cSo I was photographing fire, then looking for tear gas clouds, concrete barriers, layers of spray paint. Green laser pointers became a very strong motif.\u201dbr>br>The book starts in one place and ends somewhere very different \u2013 \u201cthere\u2019s a real trajectory,\u201d says Connors. \u201cIt builds. It swings between the familiar and the unfamiliar, and it maintains tension between beauty and threat and historical consequence \u2013 it\u2019s meant to keep you off balance. The ambiguity and the discomfort that builds throughout \u2013 you wouldn\u2019t experience that outside of the book form. And a lot of that was executed by the way the book is laid out.\u201dbr>br>Talking of which, the book can be read either back to front or front to back: in part a nod tobr>the way the Arabic-speaking population of Egypt read their texts, but it also functions as a means of disorienting the reader. The sequence of image works either way, but reading from left to right, as it were, where Connors\u2019 short story appears at the end, one immediately wants to read backwards. Try it the other way and the mood on completion is very different. I went forward, then back, then forward again \u2013 you could do this 20 times and still feel that you hadn\u2019t quite understood it, but perhaps that is part of the draw. Which of us can say we fully understand the politics of the Arab Spring? When I ask Connors why the sequence is backwards, he replies with his own question, \u201cIs it?\u201dbr>br>The common experience of reading a book is legibility; the process of turning the pages right to left, second nature. There are tiny tweaks to the design \u2013 flipping some of the images so they feel odd, increasing the size of the images by millimetres in one direction. \u201cHe\u2019s very clever,\u201d says Ceschel, \u201cbecause the more time you spend with that book, the more that sense of certainty disappears. You read a version of the story and that tells you something, but then you find yourself doubting and reconsidering.\u201dbr>br>b>Truthful fiction\/b>br>\u201cI came to see the whole city as a kind of studio for social change,\u201d says Connors, \u201cand so a lot of the pictures are visual or sculptural atmospheres that convey only residues of the turmoil. I was hoping to make something that was able to convey a kind of emotional urgency of Egypt\u2019s revolutionary aspirations; to convey the sense of threat that I experienced all the time, but also this beauty and a kind of mystery.\u201dbr>br>Included in the book is a short story Connors wrote. Its tempo is inspired, he says, by the work of Donald Barthelme, whose fiction he first read in college (as an undergraduate he majored in literature) and to whom he has returned on and off ever since. \u201cThere are a few stories he has written where he uses these kinds of swift, verbal collage that blend violence and longing and uncertainty, and I think that really resonated with my experiences in Cairo. In a lot of ways, I tried to imitate him \u2013 and completely failed, as many others who have tried to imitate him have failed \u2013 but I know that that combination of story and images was really important for the book.\u201dbr>br>Connors\u2019 departure from Cairo coincided with the ousting of President Morsi. Even with 20,000 images under his belt, he felt he could have stayed longer and taken more. \u201cI knew there were things I was missing, but at the same time I didn\u2019t feel like I was trying to tell a comprehensive story. 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height\1204\ width_o\1863\ height_o\1204\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/48bf1a7d773763b2918c5c8cdc5ab117247832118ce6ece566cf6ae980cc89fb\/davies_FiCreview_britjourphoto_jun2015-9.jpg\ data-mid\88071018\ border\0\ \/>\na href\https:\/\/www.bjp-online.com\/2015\/06\/fire-in-cairo\/\ target\_blank\>British Journal of Photography website\/a>,content_no_html:{image 5 no-zoom}{image 6}{image 7}{image 8}{image 9}\nBritish Journal of Photography website,content_partial_html:img width\933\ height\1204\ width_o\933\ height_o\1204\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/2e9296f558b69d5f0c6f574c73a5fbd063962ce63bccce1a78d4856b5fefe3f1\/davies_FiCreview_britjourphoto_jun2015-1.jpg\ data-mid\88071014\ border\0\ data-no-zoom\/>img width\1863\ height\1204\ width_o\1863\ height_o\1204\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/f78200801d65958b86a83bca241e47ded3bef754758e4f133de2302cb1886b3e\/davies_FiCreview_britjourphoto_jun2015-2.jpg\ 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website\/a>,thumb:88071014,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:88071014,project_id:16177768,image_ref:{image 5},name:davies_FiCreview_britjourphoto_jun2015-1.jpg,hash:2e9296f558b69d5f0c6f574c73a5fbd063962ce63bccce1a78d4856b5fefe3f1,width:933,height:1204,sort:0,exclude_from_backdrop:false,date_added:1604802111},stored:{ratio:129.04608788853,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:false,sort:80,index:0,set_id:16051058,page_options:{using_local_css:true,local_css:local-style\16177768\ .container_width {\n\twidth: 33% \/*!variable_defaults*\/;\n}\n\nlocal-style\16177768\ body {\n\tbackground-color: initial \/*!variable_defaults*\/;\n}\n\nlocal-style\16177768\ .backdrop {\n}\n\nlocal-style\16177768\ .page {\n}\n\nlocal-style\16177768\ .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\nlocal-style\16177768\ .content_padding {\n\tpadding-top: 1.5rem \/*!main_margin*\/;\n\tpadding-bottom: 1.5rem 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9},name:davies_FiCreview_britjourphoto_jun2015-9.jpg,hash:48bf1a7d773763b2918c5c8cdc5ab117247832118ce6ece566cf6ae980cc89fb,width:1863,height:1204,sort:0,exclude_from_backdrop:false,date_added:1604802111},backdrop:null},{id:16177769,site_id:868680,project_url:BJP-text-mobile,direct_link:https:\/\/matthewconnors.com\/BJP-text-mobile,type:page,title:BJP text mobile,title_no_html:BJP text mobile,tags:,display:false,pin:true,pin_options:{position:top,overlay:false,fixed:false,exclude_mobile:false,accommodate:true,exclude_desktop:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:Fire in Cairo\nLucy Davies\nBritish Journal of Photography (June, 2015)\n\n\nThe images that came out of Matthew Connors\u2019 time in Egypt are \u201cdramatic and...,content:br>\nbr>div style\text-align: left;\>b>Fire in Cairo\/b>br>Lucy Daviesbr>i>British Journal of Photography\/i> (June, 2015)br>br>br>blockquote>i>The images that came out of Matthew Connors\u2019 time in Egypt are \u201cdramatic and confusing\u201d, he tells Lucy Davies, reflecting his own sense of disorientation. As the bigger picture unfolded, he knew he wanted to do a photobook, and working in collaboration with Self Publish, Be Happy, it evolved into a study of urgent social changebr>\/i>\/blockquote>br>br>When in July 2013 Matthew Connors turned the key in the lock of his Brooklyn studio for the first time in a year, he had more than 27,000 image on the hard drive in his bag. A professor at the Massachusetts College of Art and Design in Boston since 2004 (he commutes once a week from New York City via train), he had spent the previous 12 months on sabbatical, travelling through Egypt and North Korea, photographing both.br>br>He had arrived in Cairo in the run-up tthe second anniversary of the January 25th Revolution of 2011, when Egyptians had taketo the streets to end the three-decade-long presidency of Hosni Mubarak, one of a seriesof uprisings across the Middle East that became known as the Arab Spring. Connors admits to being shocked when he first saw Tahrir Square, the location in the centre of Cairo where the protesters had congregated. \u201cI had come to know it mostly through journalistic images, wher it had been swarming with people and ful of encampments. But when I arrived in early January, none of that was there \u2013 the traffic was flowing. The only echo of this immense revolution was the graffiti on the walls.\u201dbr>br>Prior to his sabbatical, he had spent almost a year photographing resistance activists participating in New York\u2019s Occupy movement. Between 2011 and 2012 he visited sites of protest across the city, such as Zuccotti Park in lower Manhattan\u2019s financial district, where a disparate, leaderless band of protesters had come together, each for their own cause, but under the now infamous slogan, \u2018We are the 99%.\u2019br>br>\u201cAfter the movement got up a little steam and a fair amount of media attention, there was a sense of it being this continuous tourist experience,\u201d he told Big Red & Shiny magazine in 2013. \u201cPeople would go down to Ground Zero, they would go shopping at Century 21, and then swing by Zuccotti Park to almost aggressively take pictures, not interacting with anyone. I saw how photography was being used to distance people from the movement and make them spectators.\u201dbr>br>For his series i>General Assembly\/i>, Connors concocted a careful framework that was designed to initiate interactions with the protesters. He would take a portrait, talk to the subject about their involvement, obtain their contact information, email them the pictures, and then return with printed photographs to hand out. \u201cIt became an exchange of images and ideas,\u201d he says. \u201cOver time the pictures started to mean something different. After I had amassed several hundred, it became a portrait of the movement.\u201dbr>br>b>Social landscape\/b>br>Protest has always been something that 39-year-old Connors has had an affinity for, but until Occupy it had never found its way into his work. Having come to photography as a teen, \u201cI was of that generation that was seduced by the alchemy and the magic of the darkroom.\u201d Via an MFA in photography from Yale University, he had cut a furrow producing work that concerned, as he describes it, \u201curbanisation in a global context, the dynamics of interactions in the public sphere, the legacy of street photography, and the ontology of the medium during its recent technological evolution\u201d.br>br>The social landscape he discovered during the Occupy protests came to energise him like nothing else. Among the protestors he met in Zuccotti Park were a number of Egyptians who had come to New York following the success of their own demonstrations in Tahrir Square. \u201cAfter conversations with them, I felt like I really needed to see events in Cairo first hand,\u201d he says.br>br>He made arrangements to stay with a former student from his college who was in Egypt onbr>a Fulbright Scholarship. They all lived in an apartment in Giza, within walking distance from Tahrir Square, across the Nile.br>br>As the January 25th anniversary approached, protest activity began to ferment. \u201cCairo is a fascinating city in terms of its relationship to history,\u201d says Connors. \u201cYou have all these streets and bridges named with dates, so the past always seems present in the geography. As significant dates in the young history of the revolution came close, I would see people coalescing nearby.\u201dbr>br>Tahrir was often a site of activity, and because of its proximity to his apartment, Connors would make a point of passing through first thing in the morning to see what might be happening. But just as often, he\u2019d witness activity at the Presidential Palace in Heliopolis, the Ultras stadium in Gezira, Qubba palace, the Qasr al-Nil bridge, other parts of downtown Cairo and later at the Muslim Brotherhood encampments at Rabaa Al-Adawiya mosque and Cairo University.br>br>\u201cIt took me a while to understand the rhythms of the city,\u201d says Connors. \u201cFridays were often really significant, usually accompanied by a strong outpouring of protest. I photographed whenever I could, but at some point in May it became almost unbearably hot, so I only went out to take pictures early in the morning. Things really slowed down as we got closer to Ramadan.\u201dbr>br>Many of the pictures he took came in these \u201cinterstitial moments\u201d, as he terms them, where he was simply walking around the city, either between sites of protest or early morning before anything was happening. Often it was a means of processing his experience, which he says was often marked by a feeling of unease. \u201cMy instincts weren\u2019t always very good. I put myself in some pretty dangerous situations. I was shot with a tear gas canister once and it knocked me to the ground. At the time I thought it wasn\u2019t that big a deal, but about a week before I left a young American college student was doing something relatively similar to what I was doing \u2013 standing on the periphery of a street conflict \u2013 and was stabbed in the chest. He died from that wound.\u201dbr>br>He also felt uneasy about his position as omniscient narrator. \u201cI couldn\u2019t tell the story in the same way as I might have done in America,\u201d he explains. \u201cI was hampered by not being fluent in Arabic but, more importantly, by a general lack of expertise in the political dynamics of Egypt, which are incredibly layered. I think a lot of the work I made was conscious of that lack of authority. The pictures that came out of it are often dramatic and confusing, and that really mimics my experience there. they are highly subjective \u2013 and they are meant to be.\u201dbr>br>b>Sequence and repeat\/b>br>The work he made in Egypt, titled Fire in Cairo, is soon to be published under the Self Publish, Be Happy helm. \u201cI always knew I wanted to do a book,\u201d says Connors, \u201cand it definitely changed the way I was thinking about photographing when I was there. The work I was making before was very much meant to be on the wall, but here I knew I wanted to incorporate writing, and when I was photographing I was o!en thinking about how the images would look in sequence and in relationship with each other.\u201dbr>br>He also knew who he wanted to self-publish with: \u201cMore than anything I wanted to work with Bruno Ceschel and Tony art director Antonio de Luca. They had already included me in a small pamphlet they had published that had been curated by Nicholas Muellner, and I knew from that and other things they have produced that they have a real dedication to the book as an object. I think they are really pushing the boundaries of what a photobook can be, and they have the wherewithal and the imagination to do it. I wanted to be paired with that.\u201dbr>br>The book has taken quite some time to put together, not least because he suffered what he describes as \u201cpre\y severe whiplash going from Cairo to the States\u201d. He started teaching again right away and transitioned into being chair of his department, \u201cwhich demanded an incredible amount of my attention\u201d. But even aside from that, he needed time to digest the original cache of 20,000 images, which he and Ceschel had to whi\le down to around 90.br>br>His first draft was made at a friend\u2019s cabin in Massachusetts, with nothing but his dog for company. After that, it went to Ceschel and back, to Connors\u2019 friends and back, to de Luca and back to Connors again. The object has been a real collaboration. The way my book has developed under their guiding hands is better than I could have done on my own,\u201d says Connors.br>br>\u201cIt took a long time to build the sequence,\u201d says Ceschel, \u201cbecause of the sheer amount of work we had to sift through. But that process really defined the book. Matthew had shot quite a lot of explicitly violent photos, for example; scenes of things he had seen in the street. As we began the edit we realised the book was more powerful without these images. We were trying to build this sense of general threat, of impending violence, and hope, but never quite showing it. The traces were more interesting. Besides, those other kinds of images had already been covered.\u201dbr>br>The sequence includes a number of what appear to be repeated images, but which on closer inspection reveal themselves as two shots of the same person taken one a!er the other. \u201cWhenbr>I saw those \u2013 and Matthew was quite keen on keeping them \u2013 I was, like, \u2018Oh, they do something, but I couldn\u2019t tell you why,\u2019\u201d says Ceschel, continuing: \u201cMatthew had set a mood, and sometimes mood is not about objective reason.\u201dbr>br>In a similar vein, the book also includes a number of repeated themes \u2013 the sky, helicopters, the green laser pens that became a distinctive feature of the protests. \u201cTo me they are like notes in a song,\u201d says Ceschel, \u201cand they increase your sense of wariness and beauty.\u201dbr>br>\u201cWhen I was photographing early on, I was creating these categories,\u201d says Connors. \u201cSo I was photographing fire, then looking for tear gas clouds, concrete barriers, layers of spray paint. Green laser pointers became a very strong motif.\u201dbr>br>The book starts in one place and ends somewhere very different \u2013 \u201cthere\u2019s a real trajectory,\u201d says Connors. \u201cIt builds. It swings between the familiar and the unfamiliar, and it maintains tension between beauty and threat and historical consequence \u2013 it\u2019s meant to keep you off balance. The ambiguity and the discomfort that builds throughout \u2013 you wouldn\u2019t experience that outside of the book form. And a lot of that was executed by the way the book is laid out.\u201dbr>br>Talking of which, the book can be read either back to front or front to back: in part a nod tobr>the way the Arabic-speaking population of Egypt read their texts, but it also functions as a means of disorienting the reader. The sequence of image works either way, but reading from left to right, as it were, where Connors\u2019 short story appears at the end, one immediately wants to read backwards. Try it the other way and the mood on completion is very different. I went forward, then back, then forward again \u2013 you could do this 20 times and still feel that you hadn\u2019t quite understood it, but perhaps that is part of the draw. Which of us can say we fully understand the politics of the Arab Spring? When I ask Connors why the sequence is backwards, he replies with his own question, \u201cIs it?\u201dbr>br>The common experience of reading a book is legibility; the process of turning the pages right to left, second nature. There are tiny tweaks to the design \u2013 flipping some of the images so they feel odd, increasing the size of the images by millimetres in one direction. \u201cHe\u2019s very clever,\u201d says Ceschel, \u201cbecause the more time you spend with that book, the more that sense of certainty disappears. You read a version of the story and that tells you something, but then you find yourself doubting and reconsidering.\u201dbr>br>b>Truthful fiction\/b>br>\u201cI came to see the whole city as a kind of studio for social change,\u201d says Connors, \u201cand so a lot of the pictures are visual or sculptural atmospheres that convey only residues of the turmoil. I was hoping to make something that was able to convey a kind of emotional urgency of Egypt\u2019s revolutionary aspirations; to convey the sense of threat that I experienced all the time, but also this beauty and a kind of mystery.\u201dbr>br>Included in the book is a short story Connors wrote. Its tempo is inspired, he says, by the work of Donald Barthelme, whose fiction he first read in college (as an undergraduate he majored in literature) and to whom he has returned on and off ever since. \u201cThere are a few stories he has written where he uses these kinds of swift, verbal collage that blend violence and longing and uncertainty, and I think that really resonated with my experiences in Cairo. In a lot of ways, I tried to imitate him \u2013 and completely failed, as many others who have tried to imitate him have failed \u2013 but I know that that combination of story and images was really important for the book.\u201dbr>br>Connors\u2019 departure from Cairo coincided with the ousting of President Morsi. Even with 20,000 images under his belt, he felt he could have stayed longer and taken more. \u201cI knew there were things I was missing, but at the same time I didn\u2019t feel like I was trying to tell a comprehensive story. Ultimately, the book and the work exist as a kind of fiction \u2013 the short story in the book is meant to signal that.\u201dbr>\/div>br>,content_no_html:\nFire in CairoLucy DaviesBritish Journal of Photography (June, 2015)The images that came out of Matthew Connors\u2019 time in Egypt are \u201cdramatic and confusing\u201d, he tells Lucy Davies, reflecting his own sense of disorientation. As the bigger picture unfolded, he knew he wanted to do a photobook, and working in collaboration with Self Publish, Be Happy, it evolved into a study of urgent social changeWhen in July 2013 Matthew Connors turned the key in the lock of his Brooklyn studio for the first time in a year, he had more than 27,000 image on the hard drive in his bag. A professor at the Massachusetts College of Art and Design in Boston since 2004 (he commutes once a week from New York City via train), he had spent the previous 12 months on sabbatical, travelling through Egypt and North Korea, photographing both.He had arrived in Cairo in the run-up tthe second anniversary of the January 25th Revolution of 2011, when Egyptians had taketo the streets to end the three-decade-long presidency of Hosni Mubarak, one of a seriesof uprisings across the Middle East that became known as the Arab Spring. Connors admits to being shocked when he first saw Tahrir Square, the location in the centre of Cairo where the protesters had congregated. \u201cI had come to know it mostly through journalistic images, wher it had been swarming with people and ful of encampments. But when I arrived in early January, none of that was there \u2013 the traffic was flowing. The only echo of this immense revolution was the graffiti on the walls.\u201dPrior to his sabbatical, he had spent almost a year photographing resistance activists participating in New York\u2019s Occupy movement. Between 2011 and 2012 he visited sites of protest across the city, such as Zuccotti Park in lower Manhattan\u2019s financial district, where a disparate, leaderless band of protesters had come together, each for their own cause, but under the now infamous slogan, \u2018We are the 99%.\u2019\u201cAfter the movement got up a little steam and a fair amount of media attention, there was a sense of it being this continuous tourist experience,\u201d he told Big Red & Shiny magazine in 2013. \u201cPeople would go down to Ground Zero, they would go shopping at Century 21, and then swing by Zuccotti Park to almost aggressively take pictures, not interacting with anyone. I saw how photography was being used to distance people from the movement and make them spectators.\u201dFor his series General Assembly, Connors concocted a careful framework that was designed to initiate interactions with the protesters. He would take a portrait, talk to the subject about their involvement, obtain their contact information, email them the pictures, and then return with printed photographs to hand out. \u201cIt became an exchange of images and ideas,\u201d he says. \u201cOver time the pictures started to mean something different. After I had amassed several hundred, it became a portrait of the movement.\u201dSocial landscapeProtest has always been something that 39-year-old Connors has had an affinity for, but until Occupy it had never found its way into his work. Having come to photography as a teen, \u201cI was of that generation that was seduced by the alchemy and the magic of the darkroom.\u201d Via an MFA in photography from Yale University, he had cut a furrow producing work that concerned, as he describes it, \u201curbanisation in a global context, the dynamics of interactions in the public sphere, the legacy of street photography, and the ontology of the medium during its recent technological evolution\u201d.The social landscape he discovered during the Occupy protests came to energise him like nothing else. Among the protestors he met in Zuccotti Park were a number of Egyptians who had come to New York following the success of their own demonstrations in Tahrir Square. \u201cAfter conversations with them, I felt like I really needed to see events in Cairo first hand,\u201d he says.He made arrangements to stay with a former student from his college who was in Egypt ona Fulbright Scholarship. They all lived in an apartment in Giza, within walking distance from Tahrir Square, across the Nile.As the January 25th anniversary approached, protest activity began to ferment. \u201cCairo is a fascinating city in terms of its relationship to history,\u201d says Connors. \u201cYou have all these streets and bridges named with dates, so the past always seems present in the geography. As significant dates in the young history of the revolution came close, I would see people coalescing nearby.\u201dTahrir was often a site of activity, and because of its proximity to his apartment, Connors would make a point of passing through first thing in the morning to see what might be happening. But just as often, he\u2019d witness activity at the Presidential Palace in Heliopolis, the Ultras stadium in Gezira, Qubba palace, the Qasr al-Nil bridge, other parts of downtown Cairo and later at the Muslim Brotherhood encampments at Rabaa Al-Adawiya mosque and Cairo University.\u201cIt took me a while to understand the rhythms of the city,\u201d says Connors. \u201cFridays were often really significant, usually accompanied by a strong outpouring of protest. I photographed whenever I could, but at some point in May it became almost unbearably hot, so I only went out to take pictures early in the morning. Things really slowed down as we got closer to Ramadan.\u201dMany of the pictures he took came in these \u201cinterstitial moments\u201d, as he terms them, where he was simply walking around the city, either between sites of protest or early morning before anything was happening. Often it was a means of processing his experience, which he says was often marked by a feeling of unease. \u201cMy instincts weren\u2019t always very good. I put myself in some pretty dangerous situations. I was shot with a tear gas canister once and it knocked me to the ground. At the time I thought it wasn\u2019t that big a deal, but about a week before I left a young American college student was doing something relatively similar to what I was doing \u2013 standing on the periphery of a street conflict \u2013 and was stabbed in the chest. He died from that wound.\u201dHe also felt uneasy about his position as omniscient narrator. \u201cI couldn\u2019t tell the story in the same way as I might have done in America,\u201d he explains. \u201cI was hampered by not being fluent in Arabic but, more importantly, by a general lack of expertise in the political dynamics of Egypt, which are incredibly layered. I think a lot of the work I made was conscious of that lack of authority. The pictures that came out of it are often dramatic and confusing, and that really mimics my experience there. they are highly subjective \u2013 and they are meant to be.\u201dSequence and repeatThe work he made in Egypt, titled Fire in Cairo, is soon to be published under the Self Publish, Be Happy helm. \u201cI always knew I wanted to do a book,\u201d says Connors, \u201cand it definitely changed the way I was thinking about photographing when I was there. The work I was making before was very much meant to be on the wall, but here I knew I wanted to incorporate writing, and when I was photographing I was o!en thinking about how the images would look in sequence and in relationship with each other.\u201dHe also knew who he wanted to self-publish with: \u201cMore than anything I wanted to work with Bruno Ceschel and Tony art director Antonio de Luca. They had already included me in a small pamphlet they had published that had been curated by Nicholas Muellner, and I knew from that and other things they have produced that they have a real dedication to the book as an object. I think they are really pushing the boundaries of what a photobook can be, and they have the wherewithal and the imagination to do it. I wanted to be paired with that.\u201dThe book has taken quite some time to put together, not least because he suffered what he describes as \u201cpre\y severe whiplash going from Cairo to the States\u201d. He started teaching again right away and transitioned into being chair of his department, \u201cwhich demanded an incredible amount of my attention\u201d. But even aside from that, he needed time to digest the original cache of 20,000 images, which he and Ceschel had to whi\le down to around 90.His first draft was made at a friend\u2019s cabin in Massachusetts, with nothing but his dog for company. After that, it went to Ceschel and back, to Connors\u2019 friends and back, to de Luca and back to Connors again. The object has been a real collaboration. The way my book has developed under their guiding hands is better than I could have done on my own,\u201d says Connors.\u201cIt took a long time to build the sequence,\u201d says Ceschel, \u201cbecause of the sheer amount of work we had to sift through. But that process really defined the book. Matthew had shot quite a lot of explicitly violent photos, for example; scenes of things he had seen in the street. As we began the edit we realised the book was more powerful without these images. We were trying to build this sense of general threat, of impending violence, and hope, but never quite showing it. The traces were more interesting. Besides, those other kinds of images had already been covered.\u201dThe sequence includes a number of what appear to be repeated images, but which on closer inspection reveal themselves as two shots of the same person taken one a!er the other. \u201cWhenI saw those \u2013 and Matthew was quite keen on keeping them \u2013 I was, like, \u2018Oh, they do something, but I couldn\u2019t tell you why,\u2019\u201d says Ceschel, continuing: \u201cMatthew had set a mood, and sometimes mood is not about objective reason.\u201dIn a similar vein, the book also includes a number of repeated themes \u2013 the sky, helicopters, the green laser pens that became a distinctive feature of the protests. \u201cTo me they are like notes in a song,\u201d says Ceschel, \u201cand they increase your sense of wariness and beauty.\u201d\u201cWhen I was photographing early on, I was creating these categories,\u201d says Connors. \u201cSo I was photographing fire, then looking for tear gas clouds, concrete barriers, layers of spray paint. Green laser pointers became a very strong motif.\u201dThe book starts in one place and ends somewhere very different \u2013 \u201cthere\u2019s a real trajectory,\u201d says Connors. \u201cIt builds. It swings between the familiar and the unfamiliar, and it maintains tension between beauty and threat and historical consequence \u2013 it\u2019s meant to keep you off balance. The ambiguity and the discomfort that builds throughout \u2013 you wouldn\u2019t experience that outside of the book form. And a lot of that was executed by the way the book is laid out.\u201dTalking of which, the book can be read either back to front or front to back: in part a nod tothe way the Arabic-speaking population of Egypt read their texts, but it also functions as a means of disorienting the reader. The sequence of image works either way, but reading from left to right, as it were, where Connors\u2019 short story appears at the end, one immediately wants to read backwards. Try it the other way and the mood on completion is very different. I went forward, then back, then forward again \u2013 you could do this 20 times and still feel that you hadn\u2019t quite understood it, but perhaps that is part of the draw. Which of us can say we fully understand the politics of the Arab Spring? When I ask Connors why the sequence is backwards, he replies with his own question, \u201cIs it?\u201dThe common experience of reading a book is legibility; the process of turning the pages right to left, second nature. There are tiny tweaks to the design \u2013 flipping some of the images so they feel odd, increasing the size of the images by millimetres in one direction. \u201cHe\u2019s very clever,\u201d says Ceschel, \u201cbecause the more time you spend with that book, the more that sense of certainty disappears. You read a version of the story and that tells you something, but then you find yourself doubting and reconsidering.\u201dTruthful fiction\u201cI came to see the whole city as a kind of studio for social change,\u201d says Connors, \u201cand so a lot of the pictures are visual or sculptural atmospheres that convey only residues of the turmoil. I was hoping to make something that was able to convey a kind of emotional urgency of Egypt\u2019s revolutionary aspirations; to convey the sense of threat that I experienced all the time, but also this beauty and a kind of mystery.\u201dIncluded in the book is a short story Connors wrote. Its tempo is inspired, he says, by the work of Donald Barthelme, whose fiction he first read in college (as an undergraduate he majored in literature) and to whom he has returned on and off ever since. \u201cThere are a few stories he has written where he uses these kinds of swift, verbal collage that blend violence and longing and uncertainty, and I think that really resonated with my experiences in Cairo. In a lot of ways, I tried to imitate him \u2013 and completely failed, as many others who have tried to imitate him have failed \u2013 but I know that that combination of story and images was really important for the book.\u201dConnors\u2019 departure from Cairo coincided with the ousting of President Morsi. Even with 20,000 images under his belt, he felt he could have stayed longer and taken more. \u201cI knew there were things I was missing, but at the same time I didn\u2019t feel like I was trying to tell a comprehensive story. Ultimately, the book and the work exist as a kind of fiction \u2013 the short story in the book is meant to signal that.\u201d,content_partial_html:br>\nbr>b>Fire in Cairo\/b>br>Lucy Daviesbr>i>British Journal of Photography\/i> (June, 2015)br>br>br>blockquote>i>The images that came out of Matthew Connors\u2019 time in Egypt are \u201cdramatic and confusing\u201d, he tells Lucy Davies, reflecting his own sense of disorientation. As the bigger picture unfolded, he knew he wanted to do a photobook, and working in collaboration with Self Publish, Be Happy, it evolved into a study of urgent social changebr>\/i>\/blockquote>br>br>When in July 2013 Matthew Connors turned the key in the lock of his Brooklyn studio for the first time in a year, he had more than 27,000 image on the hard drive in his bag. A professor at the Massachusetts College of Art and Design in Boston since 2004 (he commutes once a week from New York City via train), he had spent the previous 12 months on sabbatical, travelling through Egypt and North Korea, photographing both.br>br>He had arrived in Cairo in the run-up tthe second anniversary of the January 25th Revolution of 2011, when Egyptians had taketo the streets to end the three-decade-long presidency of Hosni Mubarak, one of a seriesof uprisings across the Middle East that became known as the Arab Spring. Connors admits to being shocked when he first saw Tahrir Square, the location in the centre of Cairo where the protesters had congregated. \u201cI had come to know it mostly through journalistic images, wher it had been swarming with people and ful of encampments. But when I arrived in early January, none of that was there \u2013 the traffic was flowing. The only echo of this immense revolution was the graffiti on the walls.\u201dbr>br>Prior to his sabbatical, he had spent almost a year photographing resistance activists participating in New York\u2019s Occupy movement. Between 2011 and 2012 he visited sites of protest across the city, such as Zuccotti Park in lower Manhattan\u2019s financial district, where a disparate, leaderless band of protesters had come together, each for their own cause, but under the now infamous slogan, \u2018We are the 99%.\u2019br>br>\u201cAfter the movement got up a little steam and a fair amount of media attention, there was a sense of it being this continuous tourist experience,\u201d he told Big Red & Shiny magazine in 2013. \u201cPeople would go down to Ground Zero, they would go shopping at Century 21, and then swing by Zuccotti Park to almost aggressively take pictures, not interacting with anyone. I saw how photography was being used to distance people from the movement and make them spectators.\u201dbr>br>For his series i>General Assembly\/i>, Connors concocted a careful framework that was designed to initiate interactions with the protesters. He would take a portrait, talk to the subject about their involvement, obtain their contact information, email them the pictures, and then return with printed photographs to hand out. \u201cIt became an exchange of images and ideas,\u201d he says. \u201cOver time the pictures started to mean something different. After I had amassed several hundred, it became a portrait of the movement.\u201dbr>br>b>Social landscape\/b>br>Protest has always been something that 39-year-old Connors has had an affinity for, but until Occupy it had never found its way into his work. Having come to photography as a teen, \u201cI was of that generation that was seduced by the alchemy and the magic of the darkroom.\u201d Via an MFA in photography from Yale University, he had cut a furrow producing work that concerned, as he describes it, \u201curbanisation in a global context, the dynamics of interactions in the public sphere, the legacy of street photography, and the ontology of the medium during its recent technological evolution\u201d.br>br>The social landscape he discovered during the Occupy protests came to energise him like nothing else. Among the protestors he met in Zuccotti Park were a number of Egyptians who had come to New York following the success of their own demonstrations in Tahrir Square. \u201cAfter conversations with them, I felt like I really needed to see events in Cairo first hand,\u201d he says.br>br>He made arrangements to stay with a former student from his college who was in Egypt onbr>a Fulbright Scholarship. They all lived in an apartment in Giza, within walking distance from Tahrir Square, across the Nile.br>br>As the January 25th anniversary approached, protest activity began to ferment. \u201cCairo is a fascinating city in terms of its relationship to history,\u201d says Connors. \u201cYou have all these streets and bridges named with dates, so the past always seems present in the geography. As significant dates in the young history of the revolution came close, I would see people coalescing nearby.\u201dbr>br>Tahrir was often a site of activity, and because of its proximity to his apartment, Connors would make a point of passing through first thing in the morning to see what might be happening. But just as often, he\u2019d witness activity at the Presidential Palace in Heliopolis, the Ultras stadium in Gezira, Qubba palace, the Qasr al-Nil bridge, other parts of downtown Cairo and later at the Muslim Brotherhood encampments at Rabaa Al-Adawiya mosque and Cairo University.br>br>\u201cIt took me a while to understand the rhythms of the city,\u201d says Connors. \u201cFridays were often really significant, usually accompanied by a strong outpouring of protest. I photographed whenever I could, but at some point in May it became almost unbearably hot, so I only went out to take pictures early in the morning. Things really slowed down as we got closer to Ramadan.\u201dbr>br>Many of the pictures he took came in these \u201cinterstitial moments\u201d, as he terms them, where he was simply walking around the city, either between sites of protest or early morning before anything was happening. Often it was a means of processing his experience, which he says was often marked by a feeling of unease. \u201cMy instincts weren\u2019t always very good. I put myself in some pretty dangerous situations. I was shot with a tear gas canister once and it knocked me to the ground. At the time I thought it wasn\u2019t that big a deal, but about a week before I left a young American college student was doing something relatively similar to what I was doing \u2013 standing on the periphery of a street conflict \u2013 and was stabbed in the chest. He died from that wound.\u201dbr>br>He also felt uneasy about his position as omniscient narrator. \u201cI couldn\u2019t tell the story in the same way as I might have done in America,\u201d he explains. \u201cI was hampered by not being fluent in Arabic but, more importantly, by a general lack of expertise in the political dynamics of Egypt, which are incredibly layered. I think a lot of the work I made was conscious of that lack of authority. The pictures that came out of it are often dramatic and confusing, and that really mimics my experience there. they are highly subjective \u2013 and they are meant to be.\u201dbr>br>b>Sequence and repeat\/b>br>The work he made in Egypt, titled Fire in Cairo, is soon to be published under the Self Publish, Be Happy helm. \u201cI always knew I wanted to do a book,\u201d says Connors, \u201cand it definitely changed the way I was thinking about photographing when I was there. The work I was making before was very much meant to be on the wall, but here I knew I wanted to incorporate writing, and when I was photographing I was o!en thinking about how the images would look in sequence and in relationship with each other.\u201dbr>br>He also knew who he wanted to self-publish with: \u201cMore than anything I wanted to work with Bruno Ceschel and Tony art director Antonio de Luca. They had already included me in a small pamphlet they had published that had been curated by Nicholas Muellner, and I knew from that and other things they have produced that they have a real dedication to the book as an object. I think they are really pushing the boundaries of what a photobook can be, and they have the wherewithal and the imagination to do it. I wanted to be paired with that.\u201dbr>br>The book has taken quite some time to put together, not least because he suffered what he describes as \u201cpre\y severe whiplash going from Cairo to the States\u201d. He started teaching again right away and transitioned into being chair of his department, \u201cwhich demanded an incredible amount of my attention\u201d. But even aside from that, he needed time to digest the original cache of 20,000 images, which he and Ceschel had to whi\le down to around 90.br>br>His first draft was made at a friend\u2019s cabin in Massachusetts, with nothing but his dog for company. After that, it went to Ceschel and back, to Connors\u2019 friends and back, to de Luca and back to Connors again. The object has been a real collaboration. The way my book has developed under their guiding hands is better than I could have done on my own,\u201d says Connors.br>br>\u201cIt took a long time to build the sequence,\u201d says Ceschel, \u201cbecause of the sheer amount of work we had to sift through. But that process really defined the book. Matthew had shot quite a lot of explicitly violent photos, for example; scenes of things he had seen in the street. As we began the edit we realised the book was more powerful without these images. We were trying to build this sense of general threat, of impending violence, and hope, but never quite showing it. The traces were more interesting. Besides, those other kinds of images had already been covered.\u201dbr>br>The sequence includes a number of what appear to be repeated images, but which on closer inspection reveal themselves as two shots of the same person taken one a!er the other. \u201cWhenbr>I saw those \u2013 and Matthew was quite keen on keeping them \u2013 I was, like, \u2018Oh, they do something, but I couldn\u2019t tell you why,\u2019\u201d says Ceschel, continuing: \u201cMatthew had set a mood, and sometimes mood is not about objective reason.\u201dbr>br>In a similar vein, the book also includes a number of repeated themes \u2013 the sky, helicopters, the green laser pens that became a distinctive feature of the protests. \u201cTo me they are like notes in a song,\u201d says Ceschel, \u201cand they increase your sense of wariness and beauty.\u201dbr>br>\u201cWhen I was photographing early on, I was creating these categories,\u201d says Connors. \u201cSo I was photographing fire, then looking for tear gas clouds, concrete barriers, layers of spray paint. Green laser pointers became a very strong motif.\u201dbr>br>The book starts in one place and ends somewhere very different \u2013 \u201cthere\u2019s a real trajectory,\u201d says Connors. \u201cIt builds. It swings between the familiar and the unfamiliar, and it maintains tension between beauty and threat and historical consequence \u2013 it\u2019s meant to keep you off balance. The ambiguity and the discomfort that builds throughout \u2013 you wouldn\u2019t experience that outside of the book form. And a lot of that was executed by the way the book is laid out.\u201dbr>br>Talking of which, the book can be read either back to front or front to back: in part a nod tobr>the way the Arabic-speaking population of Egypt read their texts, but it also functions as a means of disorienting the reader. The sequence of image works either way, but reading from left to right, as it were, where Connors\u2019 short story appears at the end, one immediately wants to read backwards. Try it the other way and the mood on completion is very different. I went forward, then back, then forward again \u2013 you could do this 20 times and still feel that you hadn\u2019t quite understood it, but perhaps that is part of the draw. Which of us can say we fully understand the politics of the Arab Spring? When I ask Connors why the sequence is backwards, he replies with his own question, \u201cIs it?\u201dbr>br>The common experience of reading a book is legibility; the process of turning the pages right to left, second nature. There are tiny tweaks to the design \u2013 flipping some of the images so they feel odd, increasing the size of the images by millimetres in one direction. \u201cHe\u2019s very clever,\u201d says Ceschel, \u201cbecause the more time you spend with that book, the more that sense of certainty disappears. You read a version of the story and that tells you something, but then you find yourself doubting and reconsidering.\u201dbr>br>b>Truthful fiction\/b>br>\u201cI came to see the whole city as a kind of studio for social change,\u201d says Connors, \u201cand so a lot of the pictures are visual or sculptural atmospheres that convey only residues of the turmoil. I was hoping to make something that was able to convey a kind of emotional urgency of Egypt\u2019s revolutionary aspirations; to convey the sense of threat that I experienced all the time, but also this beauty and a kind of mystery.\u201dbr>br>Included in the book is a short story Connors wrote. Its tempo is inspired, he says, by the work of Donald Barthelme, whose fiction he first read in college (as an undergraduate he majored in literature) and to whom he has returned on and off ever since. \u201cThere are a few stories he has written where he uses these kinds of swift, verbal collage that blend violence and longing and uncertainty, and I think that really resonated with my experiences in Cairo. In a lot of ways, I tried to imitate him \u2013 and completely failed, as many others who have tried to imitate him have failed \u2013 but I know that that combination of story and images was really important for the book.\u201dbr>br>Connors\u2019 departure from Cairo coincided with the ousting of President Morsi. Even with 20,000 images under his belt, he felt he could have stayed longer and taken more. \u201cI knew there were things I was missing, but at the same time I didn\u2019t feel like I was trying to tell a comprehensive story. 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text,tags:,display:false,pin:true,pin_options:{position:top,overlay:true,fixed:true,exclude_mobile:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:What Does a Metaphor Rest Upon?\nAndrianna Campbell\nContact Sheet: Light Work Annual (Summer, 2018)\n\nDecember 6, 2014 Matthew Connors and I are listening to W....,content:br>br>br>\nb>What Does a Metaphor Rest Upon?\/b>br>Andrianna Campbellbr>i>Contact Sheet: Light Work Annual \/i>(Summer, 2018)br>br>December 6, 2014 Matthew Connors and I are listening to W. J. T. Mitchell and Michael Taussig talk about monuments and their mutiple-authored book i>Occupy: Three Essays in Disobedience\/i>. Connors is furiously taking notes, scribbling. It makes sense; he has been laying out his own book, i>Fire in Cairo\/i>, on the uprising in Egypt. Also we are in the midst of planning a trip to Cuba to document the end of the Castro era, and changes in the country\u2019s relationship to monumentality. How could we know then, the two of us, collaborators and friends, so invested in the intersection of art and politics, how could we predict the immeasurability of changes here in the era of Donald J. Trump?br>br>Connors\u2019s photographs of the protests since the election of Trump are consistent with his conceptual and imagistic preoccupations throughout his oeuvre. There is so much here that reminds of the documentary, of Magnum\u2019s Frank Capa, of his brother Cornell Capa whose \u201cconcerned photography\u201d was a means of using the image for humanitarian aims in the wake of post-World War despair. Yet, Connors is not of their ilk and we should find it no coincidence that he is a fan of the fiction of Donald Barthelme. Because wasn\u2019t it Barthelme writing about the aim of literature who said it \u201cis the creation of a strange object covered with fur which breaks your heart.\u201d These photographs are like this. They are so disconcerting and so tender.br>br>Rather than approaching his subjects as that which may be narrated, Connors settles on the often inexplicable in the crowd. In i>FUTR\/i> 2016, a blonde woman is depicted with a $20 bill glued over her eyes, her lips gagged by gold duct tape. How does she see to march? She has sharpied \u201cFuck Trump\u201d on the tape. We don\u2019t need to hear her rally cry, because her lament was made to be pictured. The strangeness of the image though indicates directness is not what is being sought. This brings us to a second poignant point about these photographs; Connors likes to introduce the accouterment of resistance. In i>Mask in Reverse\/i> 2016, we see the back of a mask that is a ruler, tape, and wire. The blank white verso of the cut out faces us. The photograph gives us little information about the author or person pictured. Whose face is on the front? It is most likely Trump\u2019s face, but it could be anyone. We have and have had so many crooks in office. The anonymity of the missing face, the blank spots, we fill in from memory. I used to picture Nixon. This was how we were trained from cinema. Think Point Break 1991. I now know that it was all the previous presidents but in my memory it was only Nixon.br>br>Nixon was our presidential bad guy. Will Trump\u2019s face ever achieve this ubiquity in parody? By denying us his visage, Connors continues his concentration on the inexplicable. So we enter his photographs, framed by a want of the traditional interaction with the documentary and then are derailed. Take for instance i>Flame\/i> 2017, where the window of a limousine becomes the classic Albertian example of the pictorial window onto another world. The fire in the backseat is an abstraction, and as you look in through a pile of jagged broken glass, you begin to understand its cause. Then in i>Tower Interior\/i> 2016, there is the reflection of lights as you traverse the landscape horizontally. This dystopian vantage point reveals itself in Trump Tower after just one escalator ride. Overall there is a vulnerability to these images, which captures the nature of mounting a resistance to adamantine corporate and state goliaths.br>br>There are moments that we are reminded that Connors is there. These are very much informed by his presence in the space alongside the protestors. In i>Pussy Balaclava\/i> 2017 a woman in a cat mask quizzically eyes him. Her eyes seem weary but determined. It is these cold days that deter bodies in the streets, but she is here and has donned a cat mask. How does it relate at all to why she is here? What does the cat metaphor rest upon? This is what we want to know. In this case, there is no metaphor. In this case, the monument is invisible. There are no statues to tear down as we have in our past with Robert E. Lee and other members of the Confederacy. Our targets have become inaccessible to the crowds; their power concretized in monuments of steel and glass impenetrable by the human scale. It is the invisibility of the monuments, the obscurity of the faces, and the often illegibility of the textual that informs Connors\u2019s praxis. And it is the cars on fire, the fragility of the homemade mask, the shaking handwritten script of the sharpie that reminds of the invisible and metaphoric slingshots dispersed in the crowds.br>,content_no_html:\nWhat Does a Metaphor Rest Upon?Andrianna CampbellContact Sheet: Light Work Annual (Summer, 2018)December 6, 2014 Matthew Connors and I are listening to W. J. T. Mitchell and Michael Taussig talk about monuments and their mutiple-authored book Occupy: Three Essays in Disobedience. Connors is furiously taking notes, scribbling. It makes sense; he has been laying out his own book, Fire in Cairo, on the uprising in Egypt. Also we are in the midst of planning a trip to Cuba to document the end of the Castro era, and changes in the country\u2019s relationship to monumentality. How could we know then, the two of us, collaborators and friends, so invested in the intersection of art and politics, how could we predict the immeasurability of changes here in the era of Donald J. Trump?Connors\u2019s photographs of the protests since the election of Trump are consistent with his conceptual and imagistic preoccupations throughout his oeuvre. There is so much here that reminds of the documentary, of Magnum\u2019s Frank Capa, of his brother Cornell Capa whose \u201cconcerned photography\u201d was a means of using the image for humanitarian aims in the wake of post-World War despair. Yet, Connors is not of their ilk and we should find it no coincidence that he is a fan of the fiction of Donald Barthelme. Because wasn\u2019t it Barthelme writing about the aim of literature who said it \u201cis the creation of a strange object covered with fur which breaks your heart.\u201d These photographs are like this. They are so disconcerting and so tender.Rather than approaching his subjects as that which may be narrated, Connors settles on the often inexplicable in the crowd. In FUTR 2016, a blonde woman is depicted with a $20 bill glued over her eyes, her lips gagged by gold duct tape. How does she see to march? She has sharpied \u201cFuck Trump\u201d on the tape. We don\u2019t need to hear her rally cry, because her lament was made to be pictured. The strangeness of the image though indicates directness is not what is being sought. This brings us to a second poignant point about these photographs; Connors likes to introduce the accouterment of resistance. In Mask in Reverse 2016, we see the back of a mask that is a ruler, tape, and wire. The blank white verso of the cut out faces us. The photograph gives us little information about the author or person pictured. Whose face is on the front? It is most likely Trump\u2019s face, but it could be anyone. We have and have had so many crooks in office. The anonymity of the missing face, the blank spots, we fill in from memory. I used to picture Nixon. This was how we were trained from cinema. Think Point Break 1991. I now know that it was all the previous presidents but in my memory it was only Nixon.Nixon was our presidential bad guy. Will Trump\u2019s face ever achieve this ubiquity in parody? By denying us his visage, Connors continues his concentration on the inexplicable. So we enter his photographs, framed by a want of the traditional interaction with the documentary and then are derailed. Take for instance Flame 2017, where the window of a limousine becomes the classic Albertian example of the pictorial window onto another world. The fire in the backseat is an abstraction, and as you look in through a pile of jagged broken glass, you begin to understand its cause. Then in Tower Interior 2016, there is the reflection of lights as you traverse the landscape horizontally. This dystopian vantage point reveals itself in Trump Tower after just one escalator ride. Overall there is a vulnerability to these images, which captures the nature of mounting a resistance to adamantine corporate and state goliaths.There are moments that we are reminded that Connors is there. These are very much informed by his presence in the space alongside the protestors. In Pussy Balaclava 2017 a woman in a cat mask quizzically eyes him. Her eyes seem weary but determined. It is these cold days that deter bodies in the streets, but she is here and has donned a cat mask. How does it relate at all to why she is here? What does the cat metaphor rest upon? This is what we want to know. In this case, there is no metaphor. In this case, the monument is invisible. There are no statues to tear down as we have in our past with Robert E. Lee and other members of the Confederacy. Our targets have become inaccessible to the crowds; their power concretized in monuments of steel and glass impenetrable by the human scale. It is the invisibility of the monuments, the obscurity of the faces, and the often illegibility of the textual that informs Connors\u2019s praxis. And it is the cars on fire, the fragility of the homemade mask, the shaking handwritten script of the sharpie that reminds of the invisible and metaphoric slingshots dispersed in the crowds.,content_partial_html:br>br>br>\nb>What Does a Metaphor Rest Upon?\/b>br>Andrianna Campbellbr>i>Contact Sheet: Light Work Annual \/i>(Summer, 2018)br>br>December 6, 2014 Matthew Connors and I are listening to W. J. T. Mitchell and Michael Taussig talk about monuments and their mutiple-authored book i>Occupy: Three Essays in Disobedience\/i>. Connors is furiously taking notes, scribbling. It makes sense; he has been laying out his own book, i>Fire in Cairo\/i>, on the uprising in Egypt. Also we are in the midst of planning a trip to Cuba to document the end of the Castro era, and changes in the country\u2019s relationship to monumentality. How could we know then, the two of us, collaborators and friends, so invested in the intersection of art and politics, how could we predict the immeasurability of changes here in the era of Donald J. Trump?br>br>Connors\u2019s photographs of the protests since the election of Trump are consistent with his conceptual and imagistic preoccupations throughout his oeuvre. There is so much here that reminds of the documentary, of Magnum\u2019s Frank Capa, of his brother Cornell Capa whose \u201cconcerned photography\u201d was a means of using the image for humanitarian aims in the wake of post-World War despair. Yet, Connors is not of their ilk and we should find it no coincidence that he is a fan of the fiction of Donald Barthelme. Because wasn\u2019t it Barthelme writing about the aim of literature who said it \u201cis the creation of a strange object covered with fur which breaks your heart.\u201d These photographs are like this. They are so disconcerting and so tender.br>br>Rather than approaching his subjects as that which may be narrated, Connors settles on the often inexplicable in the crowd. In i>FUTR\/i> 2016, a blonde woman is depicted with a $20 bill glued over her eyes, her lips gagged by gold duct tape. How does she see to march? She has sharpied \u201cFuck Trump\u201d on the tape. We don\u2019t need to hear her rally cry, because her lament was made to be pictured. The strangeness of the image though indicates directness is not what is being sought. This brings us to a second poignant point about these photographs; Connors likes to introduce the accouterment of resistance. In i>Mask in Reverse\/i> 2016, we see the back of a mask that is a ruler, tape, and wire. The blank white verso of the cut out faces us. The photograph gives us little information about the author or person pictured. Whose face is on the front? It is most likely Trump\u2019s face, but it could be anyone. We have and have had so many crooks in office. The anonymity of the missing face, the blank spots, we fill in from memory. I used to picture Nixon. This was how we were trained from cinema. Think Point Break 1991. I now know that it was all the previous presidents but in my memory it was only Nixon.br>br>Nixon was our presidential bad guy. Will Trump\u2019s face ever achieve this ubiquity in parody? By denying us his visage, Connors continues his concentration on the inexplicable. So we enter his photographs, framed by a want of the traditional interaction with the documentary and then are derailed. Take for instance i>Flame\/i> 2017, where the window of a limousine becomes the classic Albertian example of the pictorial window onto another world. The fire in the backseat is an abstraction, and as you look in through a pile of jagged broken glass, you begin to understand its cause. Then in i>Tower Interior\/i> 2016, there is the reflection of lights as you traverse the landscape horizontally. This dystopian vantage point reveals itself in Trump Tower after just one escalator ride. Overall there is a vulnerability to these images, which captures the nature of mounting a resistance to adamantine corporate and state goliaths.br>br>There are moments that we are reminded that Connors is there. These are very much informed by his presence in the space alongside the protestors. In i>Pussy Balaclava\/i> 2017 a woman in a cat mask quizzically eyes him. Her eyes seem weary but determined. It is these cold days that deter bodies in the streets, but she is here and has donned a cat mask. How does it relate at all to why she is here? What does the cat metaphor rest upon? This is what we want to know. In this case, there is no metaphor. In this case, the monument is invisible. There are no statues to tear down as we have in our past with Robert E. Lee and other members of the Confederacy. Our targets have become inaccessible to the crowds; their power concretized in monuments of steel and glass impenetrable by the human scale. It is the invisibility of the monuments, the obscurity of the faces, and the often illegibility of the textual that informs Connors\u2019s praxis. 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5},name:Annual_2018_Cover.jpg,hash:1d67e533f33730ea66cc4630a4d95a1c00d8761b0d7e6491edc6a0057d14e11d,width:1004,height:1115,sort:0,exclude_from_backdrop:false,date_added:1604802118},backdrop:null},{id:16177771,site_id:868680,project_url:metaphor-text-mobile,direct_link:https:\/\/matthewconnors.com\/metaphor-text-mobile,type:page,title:metaphor text mobile,title_no_html:metaphor text mobile,tags:,display:false,pin:true,pin_options:{position:top,overlay:false,fixed:false,exclude_mobile:false,exclude_desktop:true,accommodate:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:What Does a Metaphor Rest Upon?\nAndrianna Campbell\nContact Sheet: Light Work Annual (Summer, 2018)\n\nDecember 6, 2014 Matthew Connors and I are listening to W. J....,content:br>\nb>What Does a Metaphor Rest Upon?\/b>br>Andrianna Campbellbr>i>Contact Sheet: Light Work Annual \/i>(Summer, 2018)br>br>December 6, 2014 Matthew Connors and I are listening to W. J. T. Mitchell and Michael Taussig talk about monuments and their mutiple-authored book i>Occupy: Three Essays in Disobedience\/i>. Connors is furiously taking notes, scribbling. It makes sense; he has been laying out his own book, i>Fire in Cairo\/i>, on the uprising in Egypt. Also we are in the midst of planning a trip to Cuba to document the end of the Castro era, and changes in the country\u2019s relationship to monumentality. How could we know then, the two of us, collaborators and friends, so invested in the intersection of art and politics, how could we predict the immeasurability of changes here in the era of Donald J. Trump?br>br>Connors\u2019s photographs of the protests since the election of Trump are consistent with his conceptual and imagistic preoccupations throughout his oeuvre. There is so much here that reminds of the documentary, of Magnum\u2019s Frank Capa, of his brother Cornell Capa whose \u201cconcerned photography\u201d was a means of using the image for humanitarian aims in the wake of post-World War despair. Yet, Connors is not of their ilk and we should find it no coincidence that he is a fan of the fiction of Donald Barthelme. Because wasn\u2019t it Barthelme writing about the aim of literature who said it \u201cis the creation of a strange object covered with fur which breaks your heart.\u201d These photographs are like this. They are so disconcerting and so tender.br>br>Rather than approaching his subjects as that which may be narrated, Connors settles on the often inexplicable in the crowd. In i>FUTR\/i> 2016, a blonde woman is depicted with a $20 bill glued over her eyes, her lips gagged by gold duct tape. How does she see to march? She has sharpied \u201cFuck Trump\u201d on the tape. We don\u2019t need to hear her rally cry, because her lament was made to be pictured. The strangeness of the image though indicates directness is not what is being sought. This brings us to a second poignant point about these photographs; Connors likes to introduce the accouterment of resistance. In i>Mask in Reverse\/i> 2016, we see the back of a mask that is a ruler, tape, and wire. The blank white verso of the cut out faces us. The photograph gives us little information about the author or person pictured. Whose face is on the front? It is most likely Trump\u2019s face, but it could be anyone. We have and have had so many crooks in office. The anonymity of the missing face, the blank spots, we fill in from memory. I used to picture Nixon. This was how we were trained from cinema. Think Point Break 1991. I now know that it was all the previous presidents but in my memory it was only Nixon.br>br>Nixon was our presidential bad guy. Will Trump\u2019s face ever achieve this ubiquity in parody? By denying us his visage, Connors continues his concentration on the inexplicable. So we enter his photographs, framed by a want of the traditional interaction with the documentary and then are derailed. Take for instance i>Flame\/i> 2017, where the window of a limousine becomes the classic Albertian example of the pictorial window onto another world. The fire in the backseat is an abstraction, and as you look in through a pile of jagged broken glass, you begin to understand its cause. Then in i>Tower Interior\/i> 2016, there is the reflection of lights as you traverse the landscape horizontally. This dystopian vantage point reveals itself in Trump Tower after just one escalator ride. Overall there is a vulnerability to these images, which captures the nature of mounting a resistance to adamantine corporate and state goliaths.br>br>There are moments that we are reminded that Connors is there. These are very much informed by his presence in the space alongside the protestors. In i>Pussy Balaclava\/i> 2017 a woman in a cat mask quizzically eyes him. Her eyes seem weary but determined. It is these cold days that deter bodies in the streets, but she is here and has donned a cat mask. How does it relate at all to why she is here? What does the cat metaphor rest upon? This is what we want to know. In this case, there is no metaphor. In this case, the monument is invisible. There are no statues to tear down as we have in our past with Robert E. Lee and other members of the Confederacy. Our targets have become inaccessible to the crowds; their power concretized in monuments of steel and glass impenetrable by the human scale. It is the invisibility of the monuments, the obscurity of the faces, and the often illegibility of the textual that informs Connors\u2019s praxis. And it is the cars on fire, the fragility of the homemade mask, the shaking handwritten script of the sharpie that reminds of the invisible and metaphoric slingshots dispersed in the crowds.br>,content_no_html:\nWhat Does a Metaphor Rest Upon?Andrianna CampbellContact Sheet: Light Work Annual (Summer, 2018)December 6, 2014 Matthew Connors and I are listening to W. J. T. Mitchell and Michael Taussig talk about monuments and their mutiple-authored book Occupy: Three Essays in Disobedience. Connors is furiously taking notes, scribbling. It makes sense; he has been laying out his own book, Fire in Cairo, on the uprising in Egypt. Also we are in the midst of planning a trip to Cuba to document the end of the Castro era, and changes in the country\u2019s relationship to monumentality. How could we know then, the two of us, collaborators and friends, so invested in the intersection of art and politics, how could we predict the immeasurability of changes here in the era of Donald J. Trump?Connors\u2019s photographs of the protests since the election of Trump are consistent with his conceptual and imagistic preoccupations throughout his oeuvre. There is so much here that reminds of the documentary, of Magnum\u2019s Frank Capa, of his brother Cornell Capa whose \u201cconcerned photography\u201d was a means of using the image for humanitarian aims in the wake of post-World War despair. Yet, Connors is not of their ilk and we should find it no coincidence that he is a fan of the fiction of Donald Barthelme. Because wasn\u2019t it Barthelme writing about the aim of literature who said it \u201cis the creation of a strange object covered with fur which breaks your heart.\u201d These photographs are like this. They are so disconcerting and so tender.Rather than approaching his subjects as that which may be narrated, Connors settles on the often inexplicable in the crowd. In FUTR 2016, a blonde woman is depicted with a $20 bill glued over her eyes, her lips gagged by gold duct tape. How does she see to march? She has sharpied \u201cFuck Trump\u201d on the tape. We don\u2019t need to hear her rally cry, because her lament was made to be pictured. The strangeness of the image though indicates directness is not what is being sought. This brings us to a second poignant point about these photographs; Connors likes to introduce the accouterment of resistance. In Mask in Reverse 2016, we see the back of a mask that is a ruler, tape, and wire. The blank white verso of the cut out faces us. The photograph gives us little information about the author or person pictured. Whose face is on the front? It is most likely Trump\u2019s face, but it could be anyone. We have and have had so many crooks in office. The anonymity of the missing face, the blank spots, we fill in from memory. I used to picture Nixon. This was how we were trained from cinema. Think Point Break 1991. I now know that it was all the previous presidents but in my memory it was only Nixon.Nixon was our presidential bad guy. Will Trump\u2019s face ever achieve this ubiquity in parody? By denying us his visage, Connors continues his concentration on the inexplicable. So we enter his photographs, framed by a want of the traditional interaction with the documentary and then are derailed. Take for instance Flame 2017, where the window of a limousine becomes the classic Albertian example of the pictorial window onto another world. The fire in the backseat is an abstraction, and as you look in through a pile of jagged broken glass, you begin to understand its cause. Then in Tower Interior 2016, there is the reflection of lights as you traverse the landscape horizontally. This dystopian vantage point reveals itself in Trump Tower after just one escalator ride. Overall there is a vulnerability to these images, which captures the nature of mounting a resistance to adamantine corporate and state goliaths.There are moments that we are reminded that Connors is there. These are very much informed by his presence in the space alongside the protestors. In Pussy Balaclava 2017 a woman in a cat mask quizzically eyes him. Her eyes seem weary but determined. It is these cold days that deter bodies in the streets, but she is here and has donned a cat mask. How does it relate at all to why she is here? What does the cat metaphor rest upon? This is what we want to know. In this case, there is no metaphor. In this case, the monument is invisible. There are no statues to tear down as we have in our past with Robert E. Lee and other members of the Confederacy. Our targets have become inaccessible to the crowds; their power concretized in monuments of steel and glass impenetrable by the human scale. It is the invisibility of the monuments, the obscurity of the faces, and the often illegibility of the textual that informs Connors\u2019s praxis. And it is the cars on fire, the fragility of the homemade mask, the shaking handwritten script of the sharpie that reminds of the invisible and metaphoric slingshots dispersed in the crowds.,content_partial_html:br>\nb>What Does a Metaphor Rest Upon?\/b>br>Andrianna Campbellbr>i>Contact Sheet: Light Work Annual \/i>(Summer, 2018)br>br>December 6, 2014 Matthew Connors and I are listening to W. J. T. Mitchell and Michael Taussig talk about monuments and their mutiple-authored book i>Occupy: Three Essays in Disobedience\/i>. Connors is furiously taking notes, scribbling. It makes sense; he has been laying out his own book, i>Fire in Cairo\/i>, on the uprising in Egypt. Also we are in the midst of planning a trip to Cuba to document the end of the Castro era, and changes in the country\u2019s relationship to monumentality. How could we know then, the two of us, collaborators and friends, so invested in the intersection of art and politics, how could we predict the immeasurability of changes here in the era of Donald J. Trump?br>br>Connors\u2019s photographs of the protests since the election of Trump are consistent with his conceptual and imagistic preoccupations throughout his oeuvre. There is so much here that reminds of the documentary, of Magnum\u2019s Frank Capa, of his brother Cornell Capa whose \u201cconcerned photography\u201d was a means of using the image for humanitarian aims in the wake of post-World War despair. Yet, Connors is not of their ilk and we should find it no coincidence that he is a fan of the fiction of Donald Barthelme. Because wasn\u2019t it Barthelme writing about the aim of literature who said it \u201cis the creation of a strange object covered with fur which breaks your heart.\u201d These photographs are like this. They are so disconcerting and so tender.br>br>Rather than approaching his subjects as that which may be narrated, Connors settles on the often inexplicable in the crowd. In i>FUTR\/i> 2016, a blonde woman is depicted with a $20 bill glued over her eyes, her lips gagged by gold duct tape. How does she see to march? She has sharpied \u201cFuck Trump\u201d on the tape. We don\u2019t need to hear her rally cry, because her lament was made to be pictured. The strangeness of the image though indicates directness is not what is being sought. This brings us to a second poignant point about these photographs; Connors likes to introduce the accouterment of resistance. In i>Mask in Reverse\/i> 2016, we see the back of a mask that is a ruler, tape, and wire. The blank white verso of the cut out faces us. The photograph gives us little information about the author or person pictured. Whose face is on the front? It is most likely Trump\u2019s face, but it could be anyone. We have and have had so many crooks in office. The anonymity of the missing face, the blank spots, we fill in from memory. I used to picture Nixon. This was how we were trained from cinema. Think Point Break 1991. I now know that it was all the previous presidents but in my memory it was only Nixon.br>br>Nixon was our presidential bad guy. Will Trump\u2019s face ever achieve this ubiquity in parody? By denying us his visage, Connors continues his concentration on the inexplicable. So we enter his photographs, framed by a want of the traditional interaction with the documentary and then are derailed. Take for instance i>Flame\/i> 2017, where the window of a limousine becomes the classic Albertian example of the pictorial window onto another world. The fire in the backseat is an abstraction, and as you look in through a pile of jagged broken glass, you begin to understand its cause. Then in i>Tower Interior\/i> 2016, there is the reflection of lights as you traverse the landscape horizontally. This dystopian vantage point reveals itself in Trump Tower after just one escalator ride. Overall there is a vulnerability to these images, which captures the nature of mounting a resistance to adamantine corporate and state goliaths.br>br>There are moments that we are reminded that Connors is there. These are very much informed by his presence in the space alongside the protestors. In i>Pussy Balaclava\/i> 2017 a woman in a cat mask quizzically eyes him. Her eyes seem weary but determined. It is these cold days that deter bodies in the streets, but she is here and has donned a cat mask. How does it relate at all to why she is here? What does the cat metaphor rest upon? This is what we want to know. In this case, there is no metaphor. In this case, the monument is invisible. There are no statues to tear down as we have in our past with Robert E. Lee and other members of the Confederacy. Our targets have become inaccessible to the crowds; their power concretized in monuments of steel and glass impenetrable by the human scale. It is the invisibility of the monuments, the obscurity of the faces, and the often illegibility of the textual that informs Connors\u2019s praxis. And it is the cars on fire, the fragility of the homemade mask, the shaking handwritten script of the sharpie that reminds of the invisible and metaphoric slingshots dispersed in the crowds.br>,thumb:,thumb_meta:null,thumb_is_visible:false,sort:86,index:0,set_id:16051205,page_options:{using_local_css:true,local_css:local-style\16177771\ .container_width {\n\twidth: 67% \/*!variable_defaults*\/;\n}\n\nlocal-style\16177771\ body {\n\tbackground-color: initial \/*!variable_defaults*\/;\n}\n\nlocal-style\16177771\ .backdrop {\n\twidth: 100% \/*!background_cover*\/;\n}\n\nlocal-style\16177771\ .page {\n}\n\nlocal-style\16177771\ .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\nlocal-style\16177771\ .content_padding {\n\tpadding-top: 1.5rem \/*!main_margin*\/;\n\tpadding-bottom: 1.5rem \/*!main_margin*\/;\n\tpadding-left: 1.5rem \/*!main_margin*\/;\n\tpadding-right: 2.5rem \/*!main_margin*\/;\n}\n\ndata-predefined-style\true\ local-style\16177771\ bodycopy 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images,title_no_html:myblank images,tags:,display:false,pin:true,pin_options:{position:top,overlay:true,fixed:true,exclude_mobile:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:My Blank Pages by Michael Schmelling, The Ice Plant, 2015\nphotoeye.com,content:br>br>\nbr>\nimg width\957\ height\1200\ width_o\957\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/c7915c4f9ca22f3d4387ce45b063def4b16e4139afaca64e58259487e3c40d59\/71b9913w-KL.jpg\ data-mid\88768787\ border\0\ data-no-zoom\/>br>My Blank Pages by Michael Schmelling, The Ice Plant, 2015br>a href\https:\/\/blog.photoeye.com\/2016\/03\/book-of-week-pick-by-matthew-connors.html\ target\_blank\>photoeye.com\/a>\nbr>,content_no_html:\n\n{image 11 no-zoom}My Blank Pages by Michael Schmelling, The Ice Plant, 2015photoeye.com\n,content_partial_html:br>br>\nbr>\nimg width\957\ height\1200\ width_o\957\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/c7915c4f9ca22f3d4387ce45b063def4b16e4139afaca64e58259487e3c40d59\/71b9913w-KL.jpg\ data-mid\88768787\ border\0\ data-no-zoom\/>br>My Blank Pages by Michael Schmelling, The Ice Plant, 2015br>a href\https:\/\/blog.photoeye.com\/2016\/03\/book-of-week-pick-by-matthew-connors.html\ target\_blank\>photoeye.com\/a>\nbr>,thumb:88768787,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:88768787,project_id:16295618,image_ref:{image 11},name:71b9913w-KL.jpg,hash:c7915c4f9ca22f3d4387ce45b063def4b16e4139afaca64e58259487e3c40d59,width:957,height:1200,sort:0,exclude_from_backdrop:false,date_added:1605313601},stored:{ratio:125.39184952978,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:false,sort:89,index:0,set_id:16295616,page_options:{using_local_css:true,local_css:local-style\16295618\ .container_width {\n}\n\nlocal-style\16295618\ body {\n}\n\nlocal-style\16295618\ .backdrop 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{\n}\n\nlocal-style\16295618\ .container {\n\tmargin-left: 0 \/*!content_left*\/;\n},local_layout_options:{split_layout:false,split_responsive:false,content_position:left_cover,content_width:33,full_height:false,main_margin:1.5,advanced_padding_enabled:false,main_margin_top:1.5,main_margin_right:1.5,main_margin_bottom:1.5,main_margin_left:1.5,page_container_bgcolor:,show_local_thumbs:false,page_bgcolor:},pin_options:{position:top,overlay:true,fixed:true,exclude_mobile:true}},set_open:false,images:{id:88768787,project_id:16295618,image_ref:{image 11},name:71b9913w-KL.jpg,hash:c7915c4f9ca22f3d4387ce45b063def4b16e4139afaca64e58259487e3c40d59,width:957,height:1200,sort:0,exclude_from_backdrop:false,date_added:1605313601},backdrop:null},{id:16295619,site_id:868680,project_url:myblank-text,direct_link:https:\/\/matthewconnors.com\/myblank-text,type:page,title:myblank text,title_no_html:myblank text,tags:,display:false,pin:true,pin_options:{position:top,overlay:true,fixed:true,exclude_mobile:true,exclude_desktop:false,accommodate:false},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:Review of Michael Schmelling\u2019s My Blank Pages\nMatthew Connors\n\nphoto-eye (March 29, 2016)\n\n\nOne particularly hot day last September I found myself in Long...,content:br>br>br>\nb>Review of Michael Schmelling\u2019s i>My Blank Pages\/i>\/b>br>Matthew Connorsbr>\ni>photo-eye\/i> (March 29, 2016)br>br>\nOne particularly hot day last September I found myself in Long Island City\u2019s First Ward School watching Michael Schmelling for what many would consider an inappropriately long time. Amid the din of overwhelmed art book enthusiasts who made their annual pilgrimage to the NYABF, Schmelling sat at his publisher\u2019s table, quietly engrossed in his recent past. Methodically penciling margin notes inside copies of his new book, he was rehearsing a conversation between his memory and a personal archive of 4x6 machine prints that were the impetus for i>My Blank Pages\/i>.br>br>The result is an oblique personal narrative that carries us through his former studios, apartments, meals, mumblings, relationships, stray thoughts, and itinerant work life. It is a decade peeled off into genres of experience and infused with the sad optimism of his departure from New York for Los Angeles. Chronology is loose and context is often sacrificed in favor of a life arranged in patterns and metaphors drenched in the light of his camera flash. Nested in the middle of the book, on another paper stock, is an abridged version of his 2008 book i>The Week of No Computer\/i> that offers more nuance to his self-portrait through free form scraps of experience and Sharpie poetics.br>br>His penciled annotations provide a running commentary on the parallax between life itself and life depicted. They are lyrical murmurs seemingly lifted from remembered dialog, diaristic footnotes, and a compendium of title ideas that would provoke the envy of David Berman. Uniquely handwritten into each copy of the book, these scribbles provide a hypnotic oscillation between past and present selves.br>br>i>My Blank Pages\/i> is a messy and intimate attempt to excavate a rapidly receding past; to show us what can be revealed about the self through the careful accumulation of casually recorded observations. It is the product of an artist crippled by both a good and bad memory, who has climbed a mountain to look down and admire his own pants. Schmelling has deftly slipped us into what Ben Lerner calls the profound experience of the lack of profundity, and invites us to fill our own blank pages.br>\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\nbr>,content_no_html:\nReview of Michael Schmelling\u2019s My Blank PagesMatthew Connors\nphoto-eye (March 29, 2016)\nOne particularly hot day last September I found myself in Long Island City\u2019s First Ward School watching Michael Schmelling for what many would consider an inappropriately long time. Amid the din of overwhelmed art book enthusiasts who made their annual pilgrimage to the NYABF, Schmelling sat at his publisher\u2019s table, quietly engrossed in his recent past. Methodically penciling margin notes inside copies of his new book, he was rehearsing a conversation between his memory and a personal archive of 4x6 machine prints that were the impetus for My Blank Pages.The result is an oblique personal narrative that carries us through his former studios, apartments, meals, mumblings, relationships, stray thoughts, and itinerant work life. It is a decade peeled off into genres of experience and infused with the sad optimism of his departure from New York for Los Angeles. Chronology is loose and context is often sacrificed in favor of a life arranged in patterns and metaphors drenched in the light of his camera flash. Nested in the middle of the book, on another paper stock, is an abridged version of his 2008 book The Week of No Computer that offers more nuance to his self-portrait through free form scraps of experience and Sharpie poetics.His penciled annotations provide a running commentary on the parallax between life itself and life depicted. They are lyrical murmurs seemingly lifted from remembered dialog, diaristic footnotes, and a compendium of title ideas that would provoke the envy of David Berman. Uniquely handwritten into each copy of the book, these scribbles provide a hypnotic oscillation between past and present selves.My Blank Pages is a messy and intimate attempt to excavate a rapidly receding past; to show us what can be revealed about the self through the careful accumulation of casually recorded observations. It is the product of an artist crippled by both a good and bad memory, who has climbed a mountain to look down and admire his own pants. Schmelling has deftly slipped us into what Ben Lerner calls the profound experience of the lack of profundity, and invites us to fill our own blank pages.\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\n,content_partial_html:br>br>br>\nb>Review of Michael Schmelling\u2019s i>My Blank Pages\/i>\/b>br>Matthew Connorsbr>\ni>photo-eye\/i> (March 29, 2016)br>br>\nOne particularly hot day last September I found myself in Long Island City\u2019s First Ward School watching Michael Schmelling for what many would consider an inappropriately long time. Amid the din of overwhelmed art book enthusiasts who made their annual pilgrimage to the NYABF, Schmelling sat at his publisher\u2019s table, quietly engrossed in his recent past. Methodically penciling margin notes inside copies of his new book, he was rehearsing a conversation between his memory and a personal archive of 4x6 machine prints that were the impetus for i>My Blank Pages\/i>.br>br>The result is an oblique personal narrative that carries us through his former studios, apartments, meals, mumblings, relationships, stray thoughts, and itinerant work life. It is a decade peeled off into genres of experience and infused with the sad optimism of his departure from New York for Los Angeles. Chronology is loose and context is often sacrificed in favor of a life arranged in patterns and metaphors drenched in the light of his camera flash. Nested in the middle of the book, on another paper stock, is an abridged version of his 2008 book i>The Week of No Computer\/i> that offers more nuance to his self-portrait through free form scraps of experience and Sharpie poetics.br>br>His penciled annotations provide a running commentary on the parallax between life itself and life depicted. They are lyrical murmurs seemingly lifted from remembered dialog, diaristic footnotes, and a compendium of title ideas that would provoke the envy of David Berman. Uniquely handwritten into each copy of the book, these scribbles provide a hypnotic oscillation between past and present selves.br>br>i>My Blank Pages\/i> is a messy and intimate attempt to excavate a rapidly receding past; to show us what can be revealed about the self through the careful accumulation of casually recorded observations. It is the product of an artist crippled by both a good and bad memory, who has climbed a mountain to look down and admire his own pants. Schmelling has deftly slipped us into what Ben Lerner calls the profound experience of the lack of profundity, and invites us to fill our own blank pages.br>\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\nbr>,thumb:,thumb_meta:null,thumb_is_visible:false,sort:90,index:0,set_id:16295616,page_options:{using_local_css:true,local_css:local-style\16295619\ .container_width {\n\twidth: 67% \/*!variable_defaults*\/;\n}\n\nlocal-style\16295619\ body {\n}\n\nlocal-style\16295619\ .backdrop {\n\twidth: 100% \/*!background_cover*\/;\n}\n\nlocal-style\16295619\ .page {\n}\n\nlocal-style\16295619\ .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\nlocal-style\16295619\ .content_padding {\n\tpadding-right: 2.5rem \/*!main_margin*\/;\n}\n\ndata-predefined-style\true\ local-style\16295619\ bodycopy {\n}\n\ndata-predefined-style\true\ local-style\16295619\ bodycopy a {\n}\n\ndata-predefined-style\true\ local-style\16295619\ bodycopy a:hover {\n}\n\ndata-predefined-style\true\ local-style\16295619\ h1 {\n}\n\ndata-predefined-style\true\ local-style\16295619\ h1 a {\n}\n\ndata-predefined-style\true\ local-style\16295619\ h1 a:hover {\n}\n\ndata-predefined-style\true\ local-style\16295619\ h2 {\n}\n\ndata-predefined-style\true\ local-style\16295619\ h2 a {\n}\n\ndata-predefined-style\true\ local-style\16295619\ h2 a:hover {\n}\n\ndata-predefined-style\true\ local-style\16295619\ small {\n}\n\ndata-predefined-style\true\ local-style\16295619\ small a {\n}\n\ndata-predefined-style\true\ local-style\16295619\ small a:hover {\n}\n\nlocal-style\16295619\ .container {\n\tmargin-right: 0 \/*!content_right*\/;\n},local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:true,page_container_bgcolor:,show_local_thumbs:false,page_bgcolor:,content_position:right_cover,content_width:67,main_margin:1.5,main_margin_top:1.5,main_margin_right:2.5,main_margin_bottom:1.5,main_margin_left:1.5},pin_options:{position:top,overlay:true,fixed:true,exclude_mobile:true,exclude_desktop:false,accommodate:false}},set_open:false,images:,backdrop:null},{id:16297401,site_id:868680,project_url:myblank-mobile,direct_link:https:\/\/matthewconnors.com\/myblank-mobile,type:page,title:myblank mobile,title_no_html:myblank mobile,tags:,display:false,pin:true,pin_options:{position:top,overlay:false,fixed:false,exclude_mobile:false,exclude_desktop:true,accommodate:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:Review of Michael Schmelling\u2019s My Blank Pages\nMatthew Connors\n\nphoto-eye (March 29, 2016)\n\n\nOne particularly hot day last September I found myself in Long Island...,content:br>b>Review of Michael Schmelling\u2019s i>My Blank Pages\/i>\/b>br>Matthew Connorsbr>\ni>photo-eye\/i> (March 29, 2016)br>br>\nOne particularly hot day last September I found myself in Long Island City\u2019s First Ward School watching Michael Schmelling for what many would consider an inappropriately long time. Amid the din of overwhelmed art book enthusiasts who made their annual pilgrimage to the NYABF, Schmelling sat at his publisher\u2019s table, quietly engrossed in his recent past. Methodically penciling margin notes inside copies of his new book, he was rehearsing a conversation between his memory and a personal archive of 4x6 machine prints that were the impetus for i>My Blank Pages\/i>.br>br>The result is an oblique personal narrative that carries us through his former studios, apartments, meals, mumblings, relationships, stray thoughts, and itinerant work life. It is a decade peeled off into genres of experience and infused with the sad optimism of his departure from New York for Los Angeles. Chronology is loose and context is often sacrificed in favor of a life arranged in patterns and metaphors drenched in the light of his camera flash. Nested in the middle of the book, on another paper stock, is an abridged version of his 2008 book i>The Week of No Computer\/i> that offers more nuance to his self-portrait through free form scraps of experience and Sharpie poetics.br>br>His penciled annotations provide a running commentary on the parallax between life itself and life depicted. They are lyrical murmurs seemingly lifted from remembered dialog, diaristic footnotes, and a compendium of title ideas that would provoke the envy of David Berman. Uniquely handwritten into each copy of the book, these scribbles provide a hypnotic oscillation between past and present selves.br>br>i>My Blank Pages\/i> is a messy and intimate attempt to excavate a rapidly receding past; to show us what can be revealed about the self through the careful accumulation of casually recorded observations. It is the product of an artist crippled by both a good and bad memory, who has climbed a mountain to look down and admire his own pants. Schmelling has deftly slipped us into what Ben Lerner calls the profound experience of the lack of profundity, and invites us to fill our own blank pages.br>\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\nbr>\nbr>\nimg width\957\ height\1200\ width_o\957\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/c7915c4f9ca22f3d4387ce45b063def4b16e4139afaca64e58259487e3c40d59\/71b9913w-KL.jpg\ data-mid\88778163\ border\0\ data-no-zoom\/>br>My Blank Pages by Michael Schmelling, The Ice Plant, 2015\na href\https:\/\/blog.photoeye.com\/2016\/03\/book-of-week-pick-by-matthew-connors.html\ target\_blank\>photoeye.com\/a>,content_no_html:Review of Michael Schmelling\u2019s My Blank PagesMatthew Connors\nphoto-eye (March 29, 2016)\nOne particularly hot day last September I found myself in Long Island City\u2019s First Ward School watching Michael Schmelling for what many would consider an inappropriately long time. Amid the din of overwhelmed art book enthusiasts who made their annual pilgrimage to the NYABF, Schmelling sat at his publisher\u2019s table, quietly engrossed in his recent past. Methodically penciling margin notes inside copies of his new book, he was rehearsing a conversation between his memory and a personal archive of 4x6 machine prints that were the impetus for My Blank Pages.The result is an oblique personal narrative that carries us through his former studios, apartments, meals, mumblings, relationships, stray thoughts, and itinerant work life. It is a decade peeled off into genres of experience and infused with the sad optimism of his departure from New York for Los Angeles. Chronology is loose and context is often sacrificed in favor of a life arranged in patterns and metaphors drenched in the light of his camera flash. Nested in the middle of the book, on another paper stock, is an abridged version of his 2008 book The Week of No Computer that offers more nuance to his self-portrait through free form scraps of experience and Sharpie poetics.His penciled annotations provide a running commentary on the parallax between life itself and life depicted. They are lyrical murmurs seemingly lifted from remembered dialog, diaristic footnotes, and a compendium of title ideas that would provoke the envy of David Berman. Uniquely handwritten into each copy of the book, these scribbles provide a hypnotic oscillation between past and present selves.My Blank Pages is a messy and intimate attempt to excavate a rapidly receding past; to show us what can be revealed about the self through the careful accumulation of casually recorded observations. It is the product of an artist crippled by both a good and bad memory, who has climbed a mountain to look down and admire his own pants. Schmelling has deftly slipped us into what Ben Lerner calls the profound experience of the lack of profundity, and invites us to fill our own blank pages.\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\n\n\n{image 1 no-zoom}My Blank Pages by Michael Schmelling, The Ice Plant, 2015\nphotoeye.com,content_partial_html:br>b>Review of Michael Schmelling\u2019s i>My Blank Pages\/i>\/b>br>Matthew Connorsbr>\ni>photo-eye\/i> (March 29, 2016)br>br>\nOne particularly hot day last September I found myself in Long Island City\u2019s First Ward School watching Michael Schmelling for what many would consider an inappropriately long time. Amid the din of overwhelmed art book enthusiasts who made their annual pilgrimage to the NYABF, Schmelling sat at his publisher\u2019s table, quietly engrossed in his recent past. Methodically penciling margin notes inside copies of his new book, he was rehearsing a conversation between his memory and a personal archive of 4x6 machine prints that were the impetus for i>My Blank Pages\/i>.br>br>The result is an oblique personal narrative that carries us through his former studios, apartments, meals, mumblings, relationships, stray thoughts, and itinerant work life. It is a decade peeled off into genres of experience and infused with the sad optimism of his departure from New York for Los Angeles. Chronology is loose and context is often sacrificed in favor of a life arranged in patterns and metaphors drenched in the light of his camera flash. Nested in the middle of the book, on another paper stock, is an abridged version of his 2008 book i>The Week of No Computer\/i> that offers more nuance to his self-portrait through free form scraps of experience and Sharpie poetics.br>br>His penciled annotations provide a running commentary on the parallax between life itself and life depicted. They are lyrical murmurs seemingly lifted from remembered dialog, diaristic footnotes, and a compendium of title ideas that would provoke the envy of David Berman. Uniquely handwritten into each copy of the book, these scribbles provide a hypnotic oscillation between past and present selves.br>br>i>My Blank Pages\/i> is a messy and intimate attempt to excavate a rapidly receding past; to show us what can be revealed about the self through the careful accumulation of casually recorded observations. It is the product of an artist crippled by both a good and bad memory, who has climbed a mountain to look down and admire his own pants. Schmelling has deftly slipped us into what Ben Lerner calls the profound experience of the lack of profundity, and invites us to fill our own blank pages.br>\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\nbr>\nbr>\nimg width\957\ height\1200\ width_o\957\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/c7915c4f9ca22f3d4387ce45b063def4b16e4139afaca64e58259487e3c40d59\/71b9913w-KL.jpg\ data-mid\88778163\ border\0\ data-no-zoom\/>br>My Blank Pages by Michael Schmelling, The Ice Plant, 2015\na href\https:\/\/blog.photoeye.com\/2016\/03\/book-of-week-pick-by-matthew-connors.html\ target\_blank\>photoeye.com\/a>,thumb:88778163,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{mid:88768787,duplicate:false,page_id:16297401,image_ref:{image 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{\n},local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:true,page_container_bgcolor:,show_local_thumbs:false,page_bgcolor:,main_margin:1.5,main_margin_top:1.5,main_margin_right:2.5,main_margin_bottom:1.5,main_margin_left:1.5},pin_options:{position:top,overlay:false,fixed:false,exclude_mobile:false,exclude_desktop:true,accommodate:true}},set_open:false,images:{id:88778163,project_id:16297401,image_ref:{image 1},name:71b9913w-KL.jpg,hash:c7915c4f9ca22f3d4387ce45b063def4b16e4139afaca64e58259487e3c40d59,width:957,height:1200,sort:0,exclude_from_backdrop:false,date_added:1605313601},backdrop:null}},{id:16292963,title:Berber Uprising,project_url:Berber-Uprising,set_id:16292353,is_homepage:false,pin:false,is_set:true,in_nav:false,stack:false,sort:92,index:1,page_count:0,pin_position:null,thumbnail_options:null,pages:{id:16292964,site_id:868680,project_url:berber-images,direct_link:https:\/\/matthewconnors.com\/berber-images,type:page,title:berber images,title_no_html:berber images,tags:,display:false,pin:true,pin_options:{position:top,overlay:true,fixed:true,exclude_mobile:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:This original story is included in Fire in Cairo\n\n\n\nAn early version of this story first appeared in Transgressor Magazine,content:br>br>\nbr>\nimg width\1680\ height\1200\ width_o\1680\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/1739a1663c77a480d56903c33605a978390babda0813af82177980e51dead79c\/Fire_In_Cairo_Cover.jpg\ data-mid\88755379\ border\0\ data-no-zoom\/>br>This original story is included in i>Fire in Cairo\/i>br>\nbr>img width\401\ height\533\ width_o\401\ height_o\533\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/e4016f1a503e189a1633ef70e58ebe38a855af2c3915fa93ec07753cf50c9bf1\/Screen-Shot-2020-11-13-at-3.20.19-PM.png\ data-mid\88755343\ border\0\ data-no-zoom\/>br>An early version of this story first appeared in i>Transgressor Magazine\/i>\nbr>,content_no_html:\n\n{image 9 no-zoom}This original story is included in Fire in Cairo\n{image 8 no-zoom}An early version of this story first appeared in Transgressor Magazine\n,content_partial_html:br>br>\nbr>\nimg width\1680\ height\1200\ width_o\1680\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/1739a1663c77a480d56903c33605a978390babda0813af82177980e51dead79c\/Fire_In_Cairo_Cover.jpg\ data-mid\88755379\ border\0\ data-no-zoom\/>br>This original story is included in i>Fire in Cairo\/i>br>\nbr>img width\401\ height\533\ width_o\401\ height_o\533\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/e4016f1a503e189a1633ef70e58ebe38a855af2c3915fa93ec07753cf50c9bf1\/Screen-Shot-2020-11-13-at-3.20.19-PM.png\ data-mid\88755343\ border\0\ data-no-zoom\/>br>An early version of this story first appeared in i>Transgressor Magazine\/i>\nbr>,thumb:88755343,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{id:88755343,project_id:16292964,image_ref:{image 8},name:Screen-Shot-2020-11-13-at-3.20.19-PM.png,hash:e4016f1a503e189a1633ef70e58ebe38a855af2c3915fa93ec07753cf50c9bf1,width:401,height:533,sort:0,exclude_from_backdrop:false,date_added:1605299926},stored:{ratio:132.91770573566,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:false,sort:93,index:0,set_id:16292963,page_options:{using_local_css:true,local_css:local-style\16292964\ .container_width {\n\twidth: 33% \/*!variable_defaults*\/;\n}\n\nlocal-style\16292964\ body {\n\tbackground-color: initial 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local-style\16292964\ h2 a:hover {\n}\n\ndata-predefined-style\true\ local-style\16292964\ small {\n}\n\ndata-predefined-style\true\ local-style\16292964\ small a {\n}\n\ndata-predefined-style\true\ local-style\16292964\ small a:hover {\n}\n\nlocal-style\16292964\ .container {\n\tmargin-left: 0 \/*!content_left*\/;\n},local_layout_options:{split_layout:false,split_responsive:false,content_position:left_cover,content_width:33,full_height:false,main_margin:1.5,advanced_padding_enabled:false,main_margin_top:1.5,main_margin_right:1.5,main_margin_bottom:1.5,main_margin_left:1.5,page_container_bgcolor:,show_local_thumbs:false,page_bgcolor:},pin_options:{position:top,overlay:true,fixed:true,exclude_mobile:true}},set_open:false,images:{id:88755343,project_id:16292964,image_ref:{image 8},name:Screen-Shot-2020-11-13-at-3.20.19-PM.png,hash:e4016f1a503e189a1633ef70e58ebe38a855af2c3915fa93ec07753cf50c9bf1,width:401,height:533,sort:0,exclude_from_backdrop:false,date_added:1605299926},{id:88755379,project_id:16292964,image_ref:{image 9},name:Fire_In_Cairo_Cover.jpg,hash:1739a1663c77a480d56903c33605a978390babda0813af82177980e51dead79c,width:1680,height:1200,sort:0,exclude_from_backdrop:false,date_added:1604801926},backdrop:null},{id:16292965,site_id:868680,project_url:berber-text,direct_link:https:\/\/matthewconnors.com\/berber-text,type:page,title:berber text,title_no_html:berber text,tags:,display:false,pin:true,pin_options:{position:top,overlay:true,fixed:true,exclude_mobile:true,exclude_desktop:false,accommodate:false},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:The Berber Uprising\nMatthew Connors\n\n\n\u00a0 \u00a0 \u00a0 \u00a0 We defended the city as best we could. The enemy\u2019s rocks came in waves and their clubs clattered on...,content:br>br>br>\nb>The Berber Uprising\/b>br>Matthew Connorsbr>br>\n We defended the city as best we could. The enemy\u2019s rocks came in waves and their clubs clattered on metal\nbarriers in deafening, syncopated roars. There were torched palm trees along Midan Simon Bolivar where the\nepauletted revolutionary watched dispassionately from his stone perch. Large sheets of marble facade had been\ntorn from the Intercontinental Hotel and smashed for weaponry. Our senses were consumed in confusion. On\nthe small balcony that shielded our intimacies, I asked her if she could be happy here. It had been a cold spring,\nbut the mosquitos still came for us at night. She didn\u2019t answer. We sat amongst neglected items: salvaged\nrecords, moldered sushi, cracked chairs, a book of ingenious mechanical devices, court documents, two stray\ncats, the everydayness of resistance.br>\n Armed patrols in riot gear guarded the interior. We built concrete cube walls around the tallest buildings so\nwe would not be surprised from any direction. The rebels routinely set our barricades on fire, but we responded\nfrom above with imported tear gas and some rocks of our own. They were making paintings in the square to\ndiscredit us again.br>\n \u201cWhy are we fighting them?\u201d I asked.br> \u201cThey\u2019re mad. We\u2019re sane,\u201d Sherif replied.br> \u201cBut don\u2019t they also consider themselves sane?\u201dbr> \u201cI think they know. Deep down. They fight more fiercely in order to deny what they know not to be true. They are not sane.\u201dbr> Masked men in tight, cheap clothes marched on our position with ugly cudgels and gasoline bombs. They had been holding vigil all night in the old stadium singing chants and shaking their hands to get in the mood.\nSome fired wildly at us with homemade bearing guns and attempted to blind us with lasers. The Brigadier\nGeneral ordered us to hold the sector while Sherif fired sniper rounds from the upper floor of a building\ndesigned by Edward Matasek. He targeted known transcendentalists, firing efficient shots deep into their chest\ncavities. I decided I knew nothing. The rebels pulled back to the river in a feigned retreat and hastily reinforced\ntheir battalion with cabdrivers and potato vendors. They returned with lacerated photographs of the President\u2019s\nface. This force was crushed by late afternoon on a day that had begun with a quiet meal of soft cheese wrapped\nin white bread.br>\n\n\t\t\t\t\t\t This is the spot on the balcony where Shady used to give us haircuts at night. He worked deliberately under\nincandescent lamps, moving his hands in unpredictable rhythms. Afterward, he hosed the clippings off our bodies until they swirled in cold puddles with invincible glitter from\nanother time. Those days we could still hoard duty free. Strangers stumbled out of threesomes into awkward conversations and danced recklessly with frustrated non-governmentals. I sat there\ngetting drunker and drunker, measuring my love. She watched me closely, keeping meticulous notes on all the\ndefects between us. Contingency angered her. I responded with some random vile things, not only because she\nexpected me to but also because I enjoyed it.br>\n\n\t\t\t\t\t\t Phalanxes of bareheaded women entered the scene and the situation became liquid. People were running\nthrough the square, scattered by something tragic and sudden. Fires flashed from makeshift blowtorches and the\ncrowd dissolved into a viscous mass of red and black. Flare smoke enveloped the street in an orange fog cutting\noff our visibility. We were low on gas and tonic water, and our credit rating had been downgraded again. There\nwas nothing to do but hold our positions and monitor the ground as best we could. I had just learned from messages flown in by Eurasian coots that today had been declared the Friday of Human Dignity. I decided I\nknew nothing. State television footage later revealed herds of fat men clambering toward soundless ululations to\nsave and destroy the center that bound them into a rushing, seamless whole.br>\n\n\t\t\t\t\t\t And do you remember the time we spent in the Valley of the Whales? After several weeks of heavy dreams\nwe drove straight into the desert. The wind coursed beautifully through your hair and was so strong I had to\nkneel underneath the prayer mat to light the fire for tea. We sat for hours on the cliff watching dark cloud\nshadows drift across the soft desert basin until the evening coldness seeped into your bones. Even then I could\nnot guarantee your safety after dark.br>\n\n\t\t\t\t\t\t We interrogated the captured rebel from Tanta in the security camp on the outskirts of the city. He had a\nfriendly disposition so I related a little of the history of torture, reviewing the recent scholarship and directing his\nattention to patches of dried brown liquid on the floor where flies continued to gather. I leafed past diagrams of\nhanging techniques and virginity tests administered by truncheons to the more modern methods \u2013 American,\nRussian, Chinese \u2013 that could be applied in advanced situations. Sherif made a show of transcribing the rebel\u2019s\nhurried and exaggerated reports before we destroyed the documents and turned our attention to the children.\nThree days later the hospital accepted his naked body and relayed the tragic news of a car accident to his family.br>\n\n\t\t\t\t\t\t Of all the calls to prayer, the neighbor\u2019s dogs made the most impassioned contributions to the Dhuhr before lunch. We sat in silence through the crackling sermons eating bowls of dry cereal and basil\nsandwiches. If the mood struck, I would give brief lectures on the Casimir effect, the impurity of signals, or the multivariable calculus of tits and tats. But she had little patience for phenomena that worked in practice, but\nnot in theory. Her attention drifted to her ancient instrument exacting discrete violence on its bronze keys.br>\n\n\t\t\t\t\t\t \u201cIs that Sulendro?\u201dbr>\n\n\t\t\t\t\t\t \u201cNo, Sudamala,\u201d she said. \u201cI play it at certain times, when I am sad, or happy, although it requires four\nhands.\u201dbr>\n\n\t\t\t\t\t\t \u201cHow is that managed?\u201dbr> \u201cI expand the tones.\u201dbr> At night I walked among them in fragile anonymity searching for the Father of the Rebels. On uprooted sidewalks, I melted into downtown crowds under the suspicious gazes of provocatively posed mannequins in\ncrotchless panties. My thoughts returned to her inanimate back. Merchants had transformed the streets radiating\nfrom the square into markets for cheap wares made in collapsing factories. Not even the cabdrivers could argue\ntheir way through. Agents with gelled hair and short knives circulated through the district on Chinese\nmotorcycles confiscating communication equipment from foreign collaborators and taunting the men who\nreturned from Jihad deranged.br>\n\n\t\t\t\t\t\t Sources from inside the resistance had directed my attention across the river. The island was a vestige of\ncolonial times offering some refuge from the city\u2019s wafting miasma of open sewers and crippled kittens feeding\non discarded organ meat. Tourists came here to play out their oriental fantasies and drink black market liquids\nwith aging bon vivants who sought shelter from puritanical sandstorms. Discrete bars along the riverfront offered\nsmall windows onto a sensual past where one could find momentary reasons to be cheerful. I sat there getting\ndrunker and drunker surrounded by men who made small fortunes repairing the hymens of veiled women and smuggling fast food through border tunnels. We felt no urgency to rebel against the confines of our\nlives.br>\n\n\t\t\t\t\t\t Untranslated news stories cycled through a pixelated grid on a corner television. The Court of Cassation annulled the constitutional referendum, a weapons cache was uncovered in an antique clock store on Al Sad Al Aali, another employee of the Electricity Ministry self immolated, a state of emergency had been\ndeclared in the delta region, the barricades were holding.br>\n\n\t\t\t\t\t\t Then it was learned the President had made another urgent speech, speaking of situations and insisting on\nmeaning. He had lost control of the Islamists. Men in starched white tunics peered through the bar window\nrousing the sleepy matron into a half-hearted tirade against the suppression of the immorals. She threatened to\ndisplay the pubic hair she had shaven into the shape of a cleric\u2019s beard, but soon settled back into her ancestral\npost, silently smoking next to the register.br>\n\n\t\t\t\t\t\t And we can never wrap our hands together in the same way again however much we may wish to hold or\nclasp or cradle the brilliant body and its fermenting distempers.br>\n\n\t\t\t\t\t\t He came for me after curfew on Rejection Friday wearing a surgical mask. When I resisted, he tore off my\nshirt. After I resisted some more, he tore off my pants and underpants. He kept telling me to stand up and I\nresponded with my injuries. We grappled and flipped over the bannister, crashing downstairs into another\nsituation.br>\n\n\t\t\t\t\t\t The rebels smashed our defenses on three sides prompting the armed forces spokesperson to issue a\ndestruction alert. Sirens sounded in all the metro stations and noise accumulated in the square. We killed a great\nmany of them from helicopters, reducing their terror camps to fields of fire, but many more came from all\ndispositions to taste history. The President\u2019s last known orders were to flood the tunnels and burn the petitions. A provisional government was established and detained us in aging municipal buildings while they\nadjudicated the bureaucracy of retribution. They spoke to me softly in a yellow room. I removed my belt and\nshoelaces searching the wild eyes of children for the prospect of silence.br>\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\nbr>,content_no_html:\nThe Berber UprisingMatthew Connors\n We defended the city as best we could. The enemy\u2019s rocks came in waves and their clubs clattered on metal\nbarriers in deafening, syncopated roars. There were torched palm trees along Midan Simon Bolivar where the\nepauletted revolutionary watched dispassionately from his stone perch. Large sheets of marble facade had been\ntorn from the Intercontinental Hotel and smashed for weaponry. Our senses were consumed in confusion. On\nthe small balcony that shielded our intimacies, I asked her if she could be happy here. It had been a cold spring,\nbut the mosquitos still came for us at night. She didn\u2019t answer. We sat amongst neglected items: salvaged\nrecords, moldered sushi, cracked chairs, a book of ingenious mechanical devices, court documents, two stray\ncats, the everydayness of resistance.\n Armed patrols in riot gear guarded the interior. We built concrete cube walls around the tallest buildings so\nwe would not be surprised from any direction. The rebels routinely set our barricades on fire, but we responded\nfrom above with imported tear gas and some rocks of our own. They were making paintings in the square to\ndiscredit us again.\n \u201cWhy are we fighting them?\u201d I asked. \u201cThey\u2019re mad. We\u2019re sane,\u201d Sherif replied. \u201cBut don\u2019t they also consider themselves sane?\u201d \u201cI think they know. Deep down. They fight more fiercely in order to deny what they know not to be true. They are not sane.\u201d Masked men in tight, cheap clothes marched on our position with ugly cudgels and gasoline bombs. They had been holding vigil all night in the old stadium singing chants and shaking their hands to get in the mood.\nSome fired wildly at us with homemade bearing guns and attempted to blind us with lasers. The Brigadier\nGeneral ordered us to hold the sector while Sherif fired sniper rounds from the upper floor of a building\ndesigned by Edward Matasek. He targeted known transcendentalists, firing efficient shots deep into their chest\ncavities. I decided I knew nothing. The rebels pulled back to the river in a feigned retreat and hastily reinforced\ntheir battalion with cabdrivers and potato vendors. They returned with lacerated photographs of the President\u2019s\nface. This force was crushed by late afternoon on a day that had begun with a quiet meal of soft cheese wrapped\nin white bread.\n\n\t\t\t\t\t\t This is the spot on the balcony where Shady used to give us haircuts at night. He worked deliberately under\nincandescent lamps, moving his hands in unpredictable rhythms. Afterward, he hosed the clippings off our bodies until they swirled in cold puddles with invincible glitter from\nanother time. Those days we could still hoard duty free. Strangers stumbled out of threesomes into awkward conversations and danced recklessly with frustrated non-governmentals. I sat there\ngetting drunker and drunker, measuring my love. She watched me closely, keeping meticulous notes on all the\ndefects between us. Contingency angered her. I responded with some random vile things, not only because she\nexpected me to but also because I enjoyed it.\n\n\t\t\t\t\t\t Phalanxes of bareheaded women entered the scene and the situation became liquid. People were running\nthrough the square, scattered by something tragic and sudden. Fires flashed from makeshift blowtorches and the\ncrowd dissolved into a viscous mass of red and black. Flare smoke enveloped the street in an orange fog cutting\noff our visibility. We were low on gas and tonic water, and our credit rating had been downgraded again. There\nwas nothing to do but hold our positions and monitor the ground as best we could. I had just learned from messages flown in by Eurasian coots that today had been declared the Friday of Human Dignity. I decided I\nknew nothing. State television footage later revealed herds of fat men clambering toward soundless ululations to\nsave and destroy the center that bound them into a rushing, seamless whole.\n\n\t\t\t\t\t\t And do you remember the time we spent in the Valley of the Whales? After several weeks of heavy dreams\nwe drove straight into the desert. The wind coursed beautifully through your hair and was so strong I had to\nkneel underneath the prayer mat to light the fire for tea. We sat for hours on the cliff watching dark cloud\nshadows drift across the soft desert basin until the evening coldness seeped into your bones. Even then I could\nnot guarantee your safety after dark.\n\n\t\t\t\t\t\t We interrogated the captured rebel from Tanta in the security camp on the outskirts of the city. He had a\nfriendly disposition so I related a little of the history of torture, reviewing the recent scholarship and directing his\nattention to patches of dried brown liquid on the floor where flies continued to gather. I leafed past diagrams of\nhanging techniques and virginity tests administered by truncheons to the more modern methods \u2013 American,\nRussian, Chinese \u2013 that could be applied in advanced situations. Sherif made a show of transcribing the rebel\u2019s\nhurried and exaggerated reports before we destroyed the documents and turned our attention to the children.\nThree days later the hospital accepted his naked body and relayed the tragic news of a car accident to his family.\n\n\t\t\t\t\t\t Of all the calls to prayer, the neighbor\u2019s dogs made the most impassioned contributions to the Dhuhr before lunch. We sat in silence through the crackling sermons eating bowls of dry cereal and basil\nsandwiches. If the mood struck, I would give brief lectures on the Casimir effect, the impurity of signals, or the multivariable calculus of tits and tats. But she had little patience for phenomena that worked in practice, but\nnot in theory. Her attention drifted to her ancient instrument exacting discrete violence on its bronze keys.\n\n\t\t\t\t\t\t \u201cIs that Sulendro?\u201d\n\n\t\t\t\t\t\t \u201cNo, Sudamala,\u201d she said. \u201cI play it at certain times, when I am sad, or happy, although it requires four\nhands.\u201d\n\n\t\t\t\t\t\t \u201cHow is that managed?\u201d \u201cI expand the tones.\u201d At night I walked among them in fragile anonymity searching for the Father of the Rebels. On uprooted sidewalks, I melted into downtown crowds under the suspicious gazes of provocatively posed mannequins in\ncrotchless panties. My thoughts returned to her inanimate back. Merchants had transformed the streets radiating\nfrom the square into markets for cheap wares made in collapsing factories. Not even the cabdrivers could argue\ntheir way through. Agents with gelled hair and short knives circulated through the district on Chinese\nmotorcycles confiscating communication equipment from foreign collaborators and taunting the men who\nreturned from Jihad deranged.\n\n\t\t\t\t\t\t Sources from inside the resistance had directed my attention across the river. The island was a vestige of\ncolonial times offering some refuge from the city\u2019s wafting miasma of open sewers and crippled kittens feeding\non discarded organ meat. Tourists came here to play out their oriental fantasies and drink black market liquids\nwith aging bon vivants who sought shelter from puritanical sandstorms. Discrete bars along the riverfront offered\nsmall windows onto a sensual past where one could find momentary reasons to be cheerful. I sat there getting\ndrunker and drunker surrounded by men who made small fortunes repairing the hymens of veiled women and smuggling fast food through border tunnels. We felt no urgency to rebel against the confines of our\nlives.\n\n\t\t\t\t\t\t Untranslated news stories cycled through a pixelated grid on a corner television. The Court of Cassation annulled the constitutional referendum, a weapons cache was uncovered in an antique clock store on Al Sad Al Aali, another employee of the Electricity Ministry self immolated, a state of emergency had been\ndeclared in the delta region, the barricades were holding.\n\n\t\t\t\t\t\t Then it was learned the President had made another urgent speech, speaking of situations and insisting on\nmeaning. He had lost control of the Islamists. Men in starched white tunics peered through the bar window\nrousing the sleepy matron into a half-hearted tirade against the suppression of the immorals. She threatened to\ndisplay the pubic hair she had shaven into the shape of a cleric\u2019s beard, but soon settled back into her ancestral\npost, silently smoking next to the register.\n\n\t\t\t\t\t\t And we can never wrap our hands together in the same way again however much we may wish to hold or\nclasp or cradle the brilliant body and its fermenting distempers.\n\n\t\t\t\t\t\t He came for me after curfew on Rejection Friday wearing a surgical mask. When I resisted, he tore off my\nshirt. After I resisted some more, he tore off my pants and underpants. He kept telling me to stand up and I\nresponded with my injuries. We grappled and flipped over the bannister, crashing downstairs into another\nsituation.\n\n\t\t\t\t\t\t The rebels smashed our defenses on three sides prompting the armed forces spokesperson to issue a\ndestruction alert. Sirens sounded in all the metro stations and noise accumulated in the square. We killed a great\nmany of them from helicopters, reducing their terror camps to fields of fire, but many more came from all\ndispositions to taste history. The President\u2019s last known orders were to flood the tunnels and burn the petitions. A provisional government was established and detained us in aging municipal buildings while they\nadjudicated the bureaucracy of retribution. They spoke to me softly in a yellow room. I removed my belt and\nshoelaces searching the wild eyes of children for the prospect of silence.\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\n,content_partial_html:br>br>br>\nb>The Berber Uprising\/b>br>Matthew Connorsbr>br>\n We defended the city as best we could. The enemy\u2019s rocks came in waves and their clubs clattered on metal\nbarriers in deafening, syncopated roars. There were torched palm trees along Midan Simon Bolivar where the\nepauletted revolutionary watched dispassionately from his stone perch. Large sheets of marble facade had been\ntorn from the Intercontinental Hotel and smashed for weaponry. Our senses were consumed in confusion. On\nthe small balcony that shielded our intimacies, I asked her if she could be happy here. It had been a cold spring,\nbut the mosquitos still came for us at night. She didn\u2019t answer. We sat amongst neglected items: salvaged\nrecords, moldered sushi, cracked chairs, a book of ingenious mechanical devices, court documents, two stray\ncats, the everydayness of resistance.br>\n Armed patrols in riot gear guarded the interior. We built concrete cube walls around the tallest buildings so\nwe would not be surprised from any direction. The rebels routinely set our barricades on fire, but we responded\nfrom above with imported tear gas and some rocks of our own. They were making paintings in the square to\ndiscredit us again.br>\n \u201cWhy are we fighting them?\u201d I asked.br> \u201cThey\u2019re mad. We\u2019re sane,\u201d Sherif replied.br> \u201cBut don\u2019t they also consider themselves sane?\u201dbr> \u201cI think they know. Deep down. They fight more fiercely in order to deny what they know not to be true. They are not sane.\u201dbr> Masked men in tight, cheap clothes marched on our position with ugly cudgels and gasoline bombs. They had been holding vigil all night in the old stadium singing chants and shaking their hands to get in the mood.\nSome fired wildly at us with homemade bearing guns and attempted to blind us with lasers. The Brigadier\nGeneral ordered us to hold the sector while Sherif fired sniper rounds from the upper floor of a building\ndesigned by Edward Matasek. He targeted known transcendentalists, firing efficient shots deep into their chest\ncavities. I decided I knew nothing. The rebels pulled back to the river in a feigned retreat and hastily reinforced\ntheir battalion with cabdrivers and potato vendors. They returned with lacerated photographs of the President\u2019s\nface. This force was crushed by late afternoon on a day that had begun with a quiet meal of soft cheese wrapped\nin white bread.br>\n\n\t\t\t\t\t\t This is the spot on the balcony where Shady used to give us haircuts at night. He worked deliberately under\nincandescent lamps, moving his hands in unpredictable rhythms. Afterward, he hosed the clippings off our bodies until they swirled in cold puddles with invincible glitter from\nanother time. Those days we could still hoard duty free. Strangers stumbled out of threesomes into awkward conversations and danced recklessly with frustrated non-governmentals. I sat there\ngetting drunker and drunker, measuring my love. She watched me closely, keeping meticulous notes on all the\ndefects between us. Contingency angered her. I responded with some random vile things, not only because she\nexpected me to but also because I enjoyed it.br>\n\n\t\t\t\t\t\t Phalanxes of bareheaded women entered the scene and the situation became liquid. People were running\nthrough the square, scattered by something tragic and sudden. Fires flashed from makeshift blowtorches and the\ncrowd dissolved into a viscous mass of red and black. Flare smoke enveloped the street in an orange fog cutting\noff our visibility. We were low on gas and tonic water, and our credit rating had been downgraded again. There\nwas nothing to do but hold our positions and monitor the ground as best we could. I had just learned from messages flown in by Eurasian coots that today had been declared the Friday of Human Dignity. I decided I\nknew nothing. State television footage later revealed herds of fat men clambering toward soundless ululations to\nsave and destroy the center that bound them into a rushing, seamless whole.br>\n\n\t\t\t\t\t\t And do you remember the time we spent in the Valley of the Whales? After several weeks of heavy dreams\nwe drove straight into the desert. The wind coursed beautifully through your hair and was so strong I had to\nkneel underneath the prayer mat to light the fire for tea. We sat for hours on the cliff watching dark cloud\nshadows drift across the soft desert basin until the evening coldness seeped into your bones. Even then I could\nnot guarantee your safety after dark.br>\n\n\t\t\t\t\t\t We interrogated the captured rebel from Tanta in the security camp on the outskirts of the city. He had a\nfriendly disposition so I related a little of the history of torture, reviewing the recent scholarship and directing his\nattention to patches of dried brown liquid on the floor where flies continued to gather. I leafed past diagrams of\nhanging techniques and virginity tests administered by truncheons to the more modern methods \u2013 American,\nRussian, Chinese \u2013 that could be applied in advanced situations. Sherif made a show of transcribing the rebel\u2019s\nhurried and exaggerated reports before we destroyed the documents and turned our attention to the children.\nThree days later the hospital accepted his naked body and relayed the tragic news of a car accident to his family.br>\n\n\t\t\t\t\t\t Of all the calls to prayer, the neighbor\u2019s dogs made the most impassioned contributions to the Dhuhr before lunch. We sat in silence through the crackling sermons eating bowls of dry cereal and basil\nsandwiches. If the mood struck, I would give brief lectures on the Casimir effect, the impurity of signals, or the multivariable calculus of tits and tats. But she had little patience for phenomena that worked in practice, but\nnot in theory. Her attention drifted to her ancient instrument exacting discrete violence on its bronze keys.br>\n\n\t\t\t\t\t\t \u201cIs that Sulendro?\u201dbr>\n\n\t\t\t\t\t\t \u201cNo, Sudamala,\u201d she said. \u201cI play it at certain times, when I am sad, or happy, although it requires four\nhands.\u201dbr>\n\n\t\t\t\t\t\t \u201cHow is that managed?\u201dbr> \u201cI expand the tones.\u201dbr> At night I walked among them in fragile anonymity searching for the Father of the Rebels. On uprooted sidewalks, I melted into downtown crowds under the suspicious gazes of provocatively posed mannequins in\ncrotchless panties. My thoughts returned to her inanimate back. Merchants had transformed the streets radiating\nfrom the square into markets for cheap wares made in collapsing factories. Not even the cabdrivers could argue\ntheir way through. Agents with gelled hair and short knives circulated through the district on Chinese\nmotorcycles confiscating communication equipment from foreign collaborators and taunting the men who\nreturned from Jihad deranged.br>\n\n\t\t\t\t\t\t Sources from inside the resistance had directed my attention across the river. The island was a vestige of\ncolonial times offering some refuge from the city\u2019s wafting miasma of open sewers and crippled kittens feeding\non discarded organ meat. Tourists came here to play out their oriental fantasies and drink black market liquids\nwith aging bon vivants who sought shelter from puritanical sandstorms. Discrete bars along the riverfront offered\nsmall windows onto a sensual past where one could find momentary reasons to be cheerful. I sat there getting\ndrunker and drunker surrounded by men who made small fortunes repairing the hymens of veiled women and smuggling fast food through border tunnels. We felt no urgency to rebel against the confines of our\nlives.br>\n\n\t\t\t\t\t\t Untranslated news stories cycled through a pixelated grid on a corner television. The Court of Cassation annulled the constitutional referendum, a weapons cache was uncovered in an antique clock store on Al Sad Al Aali, another employee of the Electricity Ministry self immolated, a state of emergency had been\ndeclared in the delta region, the barricades were holding.br>\n\n\t\t\t\t\t\t Then it was learned the President had made another urgent speech, speaking of situations and insisting on\nmeaning. He had lost control of the Islamists. Men in starched white tunics peered through the bar window\nrousing the sleepy matron into a half-hearted tirade against the suppression of the immorals. She threatened to\ndisplay the pubic hair she had shaven into the shape of a cleric\u2019s beard, but soon settled back into her ancestral\npost, silently smoking next to the register.br>\n\n\t\t\t\t\t\t And we can never wrap our hands together in the same way again however much we may wish to hold or\nclasp or cradle the brilliant body and its fermenting distempers.br>\n\n\t\t\t\t\t\t He came for me after curfew on Rejection Friday wearing a surgical mask. When I resisted, he tore off my\nshirt. After I resisted some more, he tore off my pants and underpants. He kept telling me to stand up and I\nresponded with my injuries. We grappled and flipped over the bannister, crashing downstairs into another\nsituation.br>\n\n\t\t\t\t\t\t The rebels smashed our defenses on three sides prompting the armed forces spokesperson to issue a\ndestruction alert. Sirens sounded in all the metro stations and noise accumulated in the square. We killed a great\nmany of them from helicopters, reducing their terror camps to fields of fire, but many more came from all\ndispositions to taste history. The President\u2019s last known orders were to flood the tunnels and burn the petitions. A provisional government was established and detained us in aging municipal buildings while they\nadjudicated the bureaucracy of retribution. They spoke to me softly in a yellow room. I removed my belt and\nshoelaces searching the wild eyes of children for the prospect of silence.br>\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\nbr>,thumb:,thumb_meta:null,thumb_is_visible:false,sort:94,index:0,set_id:16292963,page_options:{using_local_css:true,local_css:local-style\16292965\ .container_width {\n\twidth: 67% \/*!variable_defaults*\/;\n}\n\nlocal-style\16292965\ body {\n\tbackground-color: initial \/*!variable_defaults*\/;\n}\n\nlocal-style\16292965\ .backdrop {\n\twidth: 100% \/*!background_cover*\/;\n}\n\nlocal-style\16292965\ .page {\n}\n\nlocal-style\16292965\ .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\nlocal-style\16292965\ .content_padding {\n\tpadding-top: 1.5rem \/*!main_margin*\/;\n\tpadding-bottom: 1.5rem \/*!main_margin*\/;\n\tpadding-left: 1.5rem \/*!main_margin*\/;\n\tpadding-right: 2.5rem \/*!main_margin*\/;\n}\n\ndata-predefined-style\true\ local-style\16292965\ bodycopy {\n}\n\ndata-predefined-style\true\ local-style\16292965\ bodycopy a {\n}\n\ndata-predefined-style\true\ local-style\16292965\ bodycopy a:hover {\n}\n\ndata-predefined-style\true\ local-style\16292965\ h1 {\n}\n\ndata-predefined-style\true\ local-style\16292965\ h1 a {\n}\n\ndata-predefined-style\true\ local-style\16292965\ h1 a:hover {\n}\n\ndata-predefined-style\true\ local-style\16292965\ h2 {\n}\n\ndata-predefined-style\true\ local-style\16292965\ h2 a {\n}\n\ndata-predefined-style\true\ local-style\16292965\ h2 a:hover {\n}\n\ndata-predefined-style\true\ local-style\16292965\ small {\n}\n\ndata-predefined-style\true\ local-style\16292965\ small a {\n}\n\ndata-predefined-style\true\ local-style\16292965\ small a:hover {\n}\n\nlocal-style\16292965\ .container {\n\tmargin-right: 0 \/*!content_right*\/;\n},local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:true,page_container_bgcolor:,show_local_thumbs:false,page_bgcolor:,content_position:right_cover,content_width:67,main_margin:1.5,main_margin_top:1.5,main_margin_right:2.5,main_margin_bottom:1.5,main_margin_left:1.5},pin_options:{position:top,overlay:true,fixed:true,exclude_mobile:true,exclude_desktop:false,accommodate:false}},set_open:false,images:,backdrop:null},{id:16297427,site_id:868680,project_url:berber-mobile,direct_link:https:\/\/matthewconnors.com\/berber-mobile,type:page,title:berber mobile,title_no_html:berber mobile,tags:,display:false,pin:true,pin_options:{position:top,overlay:false,fixed:false,exclude_mobile:false,exclude_desktop:true,accommodate:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:The Berber Uprising\nMatthew Connors\n\n\n\u00a0 \u00a0 \u00a0 \u00a0 We defended the city as best we could. The enemy\u2019s rocks came in waves and their clubs clattered on...,content:br>b>The Berber Uprising\/b>br>Matthew Connorsbr>br>\n We defended the city as best we could. The enemy\u2019s rocks came in waves and their clubs clattered on metal\nbarriers in deafening, syncopated roars. There were torched palm trees along Midan Simon Bolivar where the\nepauletted revolutionary watched dispassionately from his stone perch. Large sheets of marble facade had been\ntorn from the Intercontinental Hotel and smashed for weaponry. Our senses were consumed in confusion. On\nthe small balcony that shielded our intimacies, I asked her if she could be happy here. It had been a cold spring,\nbut the mosquitos still came for us at night. She didn\u2019t answer. We sat amongst neglected items: salvaged\nrecords, moldered sushi, cracked chairs, a book of ingenious mechanical devices, court documents, two stray\ncats, the everydayness of resistance.br>\n Armed patrols in riot gear guarded the interior. We built concrete cube walls around the tallest buildings so\nwe would not be surprised from any direction. The rebels routinely set our barricades on fire, but we responded\nfrom above with imported tear gas and some rocks of our own. They were making paintings in the square to\ndiscredit us again.br>\n \u201cWhy are we fighting them?\u201d I asked.br> \u201cThey\u2019re mad. We\u2019re sane,\u201d Sherif replied.br> \u201cBut don\u2019t they also consider themselves sane?\u201dbr> \u201cI think they know. Deep down. They fight more fiercely in order to deny what they know not to be true. They are not sane.\u201dbr> Masked men in tight, cheap clothes marched on our position with ugly cudgels and gasoline bombs. They had been holding vigil all night in the old stadium singing chants and shaking their hands to get in the mood.\nSome fired wildly at us with homemade bearing guns and attempted to blind us with lasers. The Brigadier\nGeneral ordered us to hold the sector while Sherif fired sniper rounds from the upper floor of a building\ndesigned by Edward Matasek. He targeted known transcendentalists, firing efficient shots deep into their chest\ncavities. I decided I knew nothing. The rebels pulled back to the river in a feigned retreat and hastily reinforced\ntheir battalion with cabdrivers and potato vendors. They returned with lacerated photographs of the President\u2019s\nface. This force was crushed by late afternoon on a day that had begun with a quiet meal of soft cheese wrapped\nin white bread.br>\n\n\t\t\t\t\t\t This is the spot on the balcony where Shady used to give us haircuts at night. He worked deliberately under\nincandescent lamps, moving his hands in unpredictable rhythms. Afterward, he hosed the clippings off our bodies until they swirled in cold puddles with invincible glitter from\nanother time. Those days we could still hoard duty free. Strangers stumbled out of threesomes into awkward conversations and danced recklessly with frustrated non-governmentals. I sat there\ngetting drunker and drunker, measuring my love. She watched me closely, keeping meticulous notes on all the\ndefects between us. Contingency angered her. I responded with some random vile things, not only because she\nexpected me to but also because I enjoyed it.br>\n\n\t\t\t\t\t\t Phalanxes of bareheaded women entered the scene and the situation became liquid. People were running\nthrough the square, scattered by something tragic and sudden. Fires flashed from makeshift blowtorches and the\ncrowd dissolved into a viscous mass of red and black. Flare smoke enveloped the street in an orange fog cutting\noff our visibility. We were low on gas and tonic water, and our credit rating had been downgraded again. There\nwas nothing to do but hold our positions and monitor the ground as best we could. I had just learned from messages flown in by Eurasian coots that today had been declared the Friday of Human Dignity. I decided I\nknew nothing. State television footage later revealed herds of fat men clambering toward soundless ululations to\nsave and destroy the center that bound them into a rushing, seamless whole.br>\n\n\t\t\t\t\t\t And do you remember the time we spent in the Valley of the Whales? After several weeks of heavy dreams\nwe drove straight into the desert. The wind coursed beautifully through your hair and was so strong I had to\nkneel underneath the prayer mat to light the fire for tea. We sat for hours on the cliff watching dark cloud\nshadows drift across the soft desert basin until the evening coldness seeped into your bones. Even then I could\nnot guarantee your safety after dark.br>\n\n\t\t\t\t\t\t We interrogated the captured rebel from Tanta in the security camp on the outskirts of the city. He had a\nfriendly disposition so I related a little of the history of torture, reviewing the recent scholarship and directing his\nattention to patches of dried brown liquid on the floor where flies continued to gather. I leafed past diagrams of\nhanging techniques and virginity tests administered by truncheons to the more modern methods \u2013 American,\nRussian, Chinese \u2013 that could be applied in advanced situations. Sherif made a show of transcribing the rebel\u2019s\nhurried and exaggerated reports before we destroyed the documents and turned our attention to the children.\nThree days later the hospital accepted his naked body and relayed the tragic news of a car accident to his family.br>\n\n\t\t\t\t\t\t Of all the calls to prayer, the neighbor\u2019s dogs made the most impassioned contributions to the Dhuhr before lunch. We sat in silence through the crackling sermons eating bowls of dry cereal and basil\nsandwiches. If the mood struck, I would give brief lectures on the Casimir effect, the impurity of signals, or the multivariable calculus of tits and tats. But she had little patience for phenomena that worked in practice, but\nnot in theory. Her attention drifted to her ancient instrument exacting discrete violence on its bronze keys.br>\n\n\t\t\t\t\t\t \u201cIs that Sulendro?\u201dbr>\n\n\t\t\t\t\t\t \u201cNo, Sudamala,\u201d she said. \u201cI play it at certain times, when I am sad, or happy, although it requires four\nhands.\u201dbr>\n\n\t\t\t\t\t\t \u201cHow is that managed?\u201dbr> \u201cI expand the tones.\u201dbr> At night I walked among them in fragile anonymity searching for the Father of the Rebels. On uprooted sidewalks, I melted into downtown crowds under the suspicious gazes of provocatively posed mannequins in\ncrotchless panties. My thoughts returned to her inanimate back. Merchants had transformed the streets radiating\nfrom the square into markets for cheap wares made in collapsing factories. Not even the cabdrivers could argue\ntheir way through. Agents with gelled hair and short knives circulated through the district on Chinese\nmotorcycles confiscating communication equipment from foreign collaborators and taunting the men who\nreturned from Jihad deranged.br>\n\n\t\t\t\t\t\t Sources from inside the resistance had directed my attention across the river. The island was a vestige of\ncolonial times offering some refuge from the city\u2019s wafting miasma of open sewers and crippled kittens feeding\non discarded organ meat. Tourists came here to play out their oriental fantasies and drink black market liquids\nwith aging bon vivants who sought shelter from puritanical sandstorms. Discrete bars along the riverfront offered\nsmall windows onto a sensual past where one could find momentary reasons to be cheerful. I sat there getting\ndrunker and drunker surrounded by men who made small fortunes repairing the hymens of veiled women and smuggling fast food through border tunnels. We felt no urgency to rebel against the confines of our\nlives.br>\n\n\t\t\t\t\t\t Untranslated news stories cycled through a pixelated grid on a corner television. The Court of Cassation annulled the constitutional referendum, a weapons cache was uncovered in an antique clock store on Al Sad Al Aali, another employee of the Electricity Ministry self immolated, a state of emergency had been\ndeclared in the delta region, the barricades were holding.br>\n\n\t\t\t\t\t\t Then it was learned the President had made another urgent speech, speaking of situations and insisting on\nmeaning. He had lost control of the Islamists. Men in starched white tunics peered through the bar window\nrousing the sleepy matron into a half-hearted tirade against the suppression of the immorals. She threatened to\ndisplay the pubic hair she had shaven into the shape of a cleric\u2019s beard, but soon settled back into her ancestral\npost, silently smoking next to the register.br>\n\n\t\t\t\t\t\t And we can never wrap our hands together in the same way again however much we may wish to hold or\nclasp or cradle the brilliant body and its fermenting distempers.br>\n\n\t\t\t\t\t\t He came for me after curfew on Rejection Friday wearing a surgical mask. When I resisted, he tore off my\nshirt. After I resisted some more, he tore off my pants and underpants. He kept telling me to stand up and I\nresponded with my injuries. We grappled and flipped over the bannister, crashing downstairs into another\nsituation.br>\n\n\t\t\t\t\t\t The rebels smashed our defenses on three sides prompting the armed forces spokesperson to issue a\ndestruction alert. Sirens sounded in all the metro stations and noise accumulated in the square. We killed a great\nmany of them from helicopters, reducing their terror camps to fields of fire, but many more came from all\ndispositions to taste history. The President\u2019s last known orders were to flood the tunnels and burn the petitions. A provisional government was established and detained us in aging municipal buildings while they\nadjudicated the bureaucracy of retribution. They spoke to me softly in a yellow room. I removed my belt and\nshoelaces searching the wild eyes of children for the prospect of silence.br>\nbr>\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\nbr>img width\1680\ height\1200\ width_o\1680\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/1739a1663c77a480d56903c33605a978390babda0813af82177980e51dead79c\/Fire_In_Cairo_Cover.jpg\ data-mid\88778331\ border\0\ data-no-zoom\/>br>This original story is included in i>Fire in Cairo\/i>br>\nbr>img width\401\ height\533\ width_o\401\ height_o\533\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/e4016f1a503e189a1633ef70e58ebe38a855af2c3915fa93ec07753cf50c9bf1\/Screen-Shot-2020-11-13-at-3.20.19-PM.png\ data-mid\88778332\ border\0\ data-no-zoom\/>br>An early version of this story first appeared in i>Transgressor Magazine\/i>\n\nbr>,content_no_html:The Berber UprisingMatthew Connors\n We defended the city as best we could. The enemy\u2019s rocks came in waves and their clubs clattered on metal\nbarriers in deafening, syncopated roars. There were torched palm trees along Midan Simon Bolivar where the\nepauletted revolutionary watched dispassionately from his stone perch. Large sheets of marble facade had been\ntorn from the Intercontinental Hotel and smashed for weaponry. Our senses were consumed in confusion. On\nthe small balcony that shielded our intimacies, I asked her if she could be happy here. It had been a cold spring,\nbut the mosquitos still came for us at night. She didn\u2019t answer. We sat amongst neglected items: salvaged\nrecords, moldered sushi, cracked chairs, a book of ingenious mechanical devices, court documents, two stray\ncats, the everydayness of resistance.\n Armed patrols in riot gear guarded the interior. We built concrete cube walls around the tallest buildings so\nwe would not be surprised from any direction. The rebels routinely set our barricades on fire, but we responded\nfrom above with imported tear gas and some rocks of our own. They were making paintings in the square to\ndiscredit us again.\n \u201cWhy are we fighting them?\u201d I asked. \u201cThey\u2019re mad. We\u2019re sane,\u201d Sherif replied. \u201cBut don\u2019t they also consider themselves sane?\u201d \u201cI think they know. Deep down. They fight more fiercely in order to deny what they know not to be true. They are not sane.\u201d Masked men in tight, cheap clothes marched on our position with ugly cudgels and gasoline bombs. They had been holding vigil all night in the old stadium singing chants and shaking their hands to get in the mood.\nSome fired wildly at us with homemade bearing guns and attempted to blind us with lasers. The Brigadier\nGeneral ordered us to hold the sector while Sherif fired sniper rounds from the upper floor of a building\ndesigned by Edward Matasek. He targeted known transcendentalists, firing efficient shots deep into their chest\ncavities. I decided I knew nothing. The rebels pulled back to the river in a feigned retreat and hastily reinforced\ntheir battalion with cabdrivers and potato vendors. They returned with lacerated photographs of the President\u2019s\nface. This force was crushed by late afternoon on a day that had begun with a quiet meal of soft cheese wrapped\nin white bread.\n\n\t\t\t\t\t\t This is the spot on the balcony where Shady used to give us haircuts at night. He worked deliberately under\nincandescent lamps, moving his hands in unpredictable rhythms. Afterward, he hosed the clippings off our bodies until they swirled in cold puddles with invincible glitter from\nanother time. Those days we could still hoard duty free. Strangers stumbled out of threesomes into awkward conversations and danced recklessly with frustrated non-governmentals. I sat there\ngetting drunker and drunker, measuring my love. She watched me closely, keeping meticulous notes on all the\ndefects between us. Contingency angered her. I responded with some random vile things, not only because she\nexpected me to but also because I enjoyed it.\n\n\t\t\t\t\t\t Phalanxes of bareheaded women entered the scene and the situation became liquid. People were running\nthrough the square, scattered by something tragic and sudden. Fires flashed from makeshift blowtorches and the\ncrowd dissolved into a viscous mass of red and black. Flare smoke enveloped the street in an orange fog cutting\noff our visibility. We were low on gas and tonic water, and our credit rating had been downgraded again. There\nwas nothing to do but hold our positions and monitor the ground as best we could. I had just learned from messages flown in by Eurasian coots that today had been declared the Friday of Human Dignity. I decided I\nknew nothing. State television footage later revealed herds of fat men clambering toward soundless ululations to\nsave and destroy the center that bound them into a rushing, seamless whole.\n\n\t\t\t\t\t\t And do you remember the time we spent in the Valley of the Whales? After several weeks of heavy dreams\nwe drove straight into the desert. The wind coursed beautifully through your hair and was so strong I had to\nkneel underneath the prayer mat to light the fire for tea. We sat for hours on the cliff watching dark cloud\nshadows drift across the soft desert basin until the evening coldness seeped into your bones. Even then I could\nnot guarantee your safety after dark.\n\n\t\t\t\t\t\t We interrogated the captured rebel from Tanta in the security camp on the outskirts of the city. He had a\nfriendly disposition so I related a little of the history of torture, reviewing the recent scholarship and directing his\nattention to patches of dried brown liquid on the floor where flies continued to gather. I leafed past diagrams of\nhanging techniques and virginity tests administered by truncheons to the more modern methods \u2013 American,\nRussian, Chinese \u2013 that could be applied in advanced situations. Sherif made a show of transcribing the rebel\u2019s\nhurried and exaggerated reports before we destroyed the documents and turned our attention to the children.\nThree days later the hospital accepted his naked body and relayed the tragic news of a car accident to his family.\n\n\t\t\t\t\t\t Of all the calls to prayer, the neighbor\u2019s dogs made the most impassioned contributions to the Dhuhr before lunch. We sat in silence through the crackling sermons eating bowls of dry cereal and basil\nsandwiches. If the mood struck, I would give brief lectures on the Casimir effect, the impurity of signals, or the multivariable calculus of tits and tats. But she had little patience for phenomena that worked in practice, but\nnot in theory. Her attention drifted to her ancient instrument exacting discrete violence on its bronze keys.\n\n\t\t\t\t\t\t \u201cIs that Sulendro?\u201d\n\n\t\t\t\t\t\t \u201cNo, Sudamala,\u201d she said. \u201cI play it at certain times, when I am sad, or happy, although it requires four\nhands.\u201d\n\n\t\t\t\t\t\t \u201cHow is that managed?\u201d \u201cI expand the tones.\u201d At night I walked among them in fragile anonymity searching for the Father of the Rebels. On uprooted sidewalks, I melted into downtown crowds under the suspicious gazes of provocatively posed mannequins in\ncrotchless panties. My thoughts returned to her inanimate back. Merchants had transformed the streets radiating\nfrom the square into markets for cheap wares made in collapsing factories. Not even the cabdrivers could argue\ntheir way through. Agents with gelled hair and short knives circulated through the district on Chinese\nmotorcycles confiscating communication equipment from foreign collaborators and taunting the men who\nreturned from Jihad deranged.\n\n\t\t\t\t\t\t Sources from inside the resistance had directed my attention across the river. The island was a vestige of\ncolonial times offering some refuge from the city\u2019s wafting miasma of open sewers and crippled kittens feeding\non discarded organ meat. Tourists came here to play out their oriental fantasies and drink black market liquids\nwith aging bon vivants who sought shelter from puritanical sandstorms. Discrete bars along the riverfront offered\nsmall windows onto a sensual past where one could find momentary reasons to be cheerful. I sat there getting\ndrunker and drunker surrounded by men who made small fortunes repairing the hymens of veiled women and smuggling fast food through border tunnels. We felt no urgency to rebel against the confines of our\nlives.\n\n\t\t\t\t\t\t Untranslated news stories cycled through a pixelated grid on a corner television. The Court of Cassation annulled the constitutional referendum, a weapons cache was uncovered in an antique clock store on Al Sad Al Aali, another employee of the Electricity Ministry self immolated, a state of emergency had been\ndeclared in the delta region, the barricades were holding.\n\n\t\t\t\t\t\t Then it was learned the President had made another urgent speech, speaking of situations and insisting on\nmeaning. He had lost control of the Islamists. Men in starched white tunics peered through the bar window\nrousing the sleepy matron into a half-hearted tirade against the suppression of the immorals. She threatened to\ndisplay the pubic hair she had shaven into the shape of a cleric\u2019s beard, but soon settled back into her ancestral\npost, silently smoking next to the register.\n\n\t\t\t\t\t\t And we can never wrap our hands together in the same way again however much we may wish to hold or\nclasp or cradle the brilliant body and its fermenting distempers.\n\n\t\t\t\t\t\t He came for me after curfew on Rejection Friday wearing a surgical mask. When I resisted, he tore off my\nshirt. After I resisted some more, he tore off my pants and underpants. He kept telling me to stand up and I\nresponded with my injuries. We grappled and flipped over the bannister, crashing downstairs into another\nsituation.\n\n\t\t\t\t\t\t The rebels smashed our defenses on three sides prompting the armed forces spokesperson to issue a\ndestruction alert. Sirens sounded in all the metro stations and noise accumulated in the square. We killed a great\nmany of them from helicopters, reducing their terror camps to fields of fire, but many more came from all\ndispositions to taste history. The President\u2019s last known orders were to flood the tunnels and burn the petitions. A provisional government was established and detained us in aging municipal buildings while they\nadjudicated the bureaucracy of retribution. They spoke to me softly in a yellow room. I removed my belt and\nshoelaces searching the wild eyes of children for the prospect of silence.\n\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\n{image 2 no-zoom}This original story is included in Fire in Cairo\n{image 1 no-zoom}An early version of this story first appeared in Transgressor Magazine\n\n,content_partial_html:br>b>The Berber Uprising\/b>br>Matthew Connorsbr>br>\n We defended the city as best we could. The enemy\u2019s rocks came in waves and their clubs clattered on metal\nbarriers in deafening, syncopated roars. There were torched palm trees along Midan Simon Bolivar where the\nepauletted revolutionary watched dispassionately from his stone perch. Large sheets of marble facade had been\ntorn from the Intercontinental Hotel and smashed for weaponry. Our senses were consumed in confusion. On\nthe small balcony that shielded our intimacies, I asked her if she could be happy here. It had been a cold spring,\nbut the mosquitos still came for us at night. She didn\u2019t answer. We sat amongst neglected items: salvaged\nrecords, moldered sushi, cracked chairs, a book of ingenious mechanical devices, court documents, two stray\ncats, the everydayness of resistance.br>\n Armed patrols in riot gear guarded the interior. We built concrete cube walls around the tallest buildings so\nwe would not be surprised from any direction. The rebels routinely set our barricades on fire, but we responded\nfrom above with imported tear gas and some rocks of our own. They were making paintings in the square to\ndiscredit us again.br>\n \u201cWhy are we fighting them?\u201d I asked.br> \u201cThey\u2019re mad. We\u2019re sane,\u201d Sherif replied.br> \u201cBut don\u2019t they also consider themselves sane?\u201dbr> \u201cI think they know. Deep down. They fight more fiercely in order to deny what they know not to be true. They are not sane.\u201dbr> Masked men in tight, cheap clothes marched on our position with ugly cudgels and gasoline bombs. They had been holding vigil all night in the old stadium singing chants and shaking their hands to get in the mood.\nSome fired wildly at us with homemade bearing guns and attempted to blind us with lasers. The Brigadier\nGeneral ordered us to hold the sector while Sherif fired sniper rounds from the upper floor of a building\ndesigned by Edward Matasek. He targeted known transcendentalists, firing efficient shots deep into their chest\ncavities. I decided I knew nothing. The rebels pulled back to the river in a feigned retreat and hastily reinforced\ntheir battalion with cabdrivers and potato vendors. They returned with lacerated photographs of the President\u2019s\nface. This force was crushed by late afternoon on a day that had begun with a quiet meal of soft cheese wrapped\nin white bread.br>\n\n\t\t\t\t\t\t This is the spot on the balcony where Shady used to give us haircuts at night. He worked deliberately under\nincandescent lamps, moving his hands in unpredictable rhythms. Afterward, he hosed the clippings off our bodies until they swirled in cold puddles with invincible glitter from\nanother time. Those days we could still hoard duty free. Strangers stumbled out of threesomes into awkward conversations and danced recklessly with frustrated non-governmentals. I sat there\ngetting drunker and drunker, measuring my love. She watched me closely, keeping meticulous notes on all the\ndefects between us. Contingency angered her. I responded with some random vile things, not only because she\nexpected me to but also because I enjoyed it.br>\n\n\t\t\t\t\t\t Phalanxes of bareheaded women entered the scene and the situation became liquid. People were running\nthrough the square, scattered by something tragic and sudden. Fires flashed from makeshift blowtorches and the\ncrowd dissolved into a viscous mass of red and black. Flare smoke enveloped the street in an orange fog cutting\noff our visibility. We were low on gas and tonic water, and our credit rating had been downgraded again. There\nwas nothing to do but hold our positions and monitor the ground as best we could. I had just learned from messages flown in by Eurasian coots that today had been declared the Friday of Human Dignity. I decided I\nknew nothing. State television footage later revealed herds of fat men clambering toward soundless ululations to\nsave and destroy the center that bound them into a rushing, seamless whole.br>\n\n\t\t\t\t\t\t And do you remember the time we spent in the Valley of the Whales? After several weeks of heavy dreams\nwe drove straight into the desert. The wind coursed beautifully through your hair and was so strong I had to\nkneel underneath the prayer mat to light the fire for tea. We sat for hours on the cliff watching dark cloud\nshadows drift across the soft desert basin until the evening coldness seeped into your bones. Even then I could\nnot guarantee your safety after dark.br>\n\n\t\t\t\t\t\t We interrogated the captured rebel from Tanta in the security camp on the outskirts of the city. He had a\nfriendly disposition so I related a little of the history of torture, reviewing the recent scholarship and directing his\nattention to patches of dried brown liquid on the floor where flies continued to gather. I leafed past diagrams of\nhanging techniques and virginity tests administered by truncheons to the more modern methods \u2013 American,\nRussian, Chinese \u2013 that could be applied in advanced situations. Sherif made a show of transcribing the rebel\u2019s\nhurried and exaggerated reports before we destroyed the documents and turned our attention to the children.\nThree days later the hospital accepted his naked body and relayed the tragic news of a car accident to his family.br>\n\n\t\t\t\t\t\t Of all the calls to prayer, the neighbor\u2019s dogs made the most impassioned contributions to the Dhuhr before lunch. We sat in silence through the crackling sermons eating bowls of dry cereal and basil\nsandwiches. If the mood struck, I would give brief lectures on the Casimir effect, the impurity of signals, or the multivariable calculus of tits and tats. But she had little patience for phenomena that worked in practice, but\nnot in theory. Her attention drifted to her ancient instrument exacting discrete violence on its bronze keys.br>\n\n\t\t\t\t\t\t \u201cIs that Sulendro?\u201dbr>\n\n\t\t\t\t\t\t \u201cNo, Sudamala,\u201d she said. \u201cI play it at certain times, when I am sad, or happy, although it requires four\nhands.\u201dbr>\n\n\t\t\t\t\t\t \u201cHow is that managed?\u201dbr> \u201cI expand the tones.\u201dbr> At night I walked among them in fragile anonymity searching for the Father of the Rebels. On uprooted sidewalks, I melted into downtown crowds under the suspicious gazes of provocatively posed mannequins in\ncrotchless panties. My thoughts returned to her inanimate back. Merchants had transformed the streets radiating\nfrom the square into markets for cheap wares made in collapsing factories. Not even the cabdrivers could argue\ntheir way through. Agents with gelled hair and short knives circulated through the district on Chinese\nmotorcycles confiscating communication equipment from foreign collaborators and taunting the men who\nreturned from Jihad deranged.br>\n\n\t\t\t\t\t\t Sources from inside the resistance had directed my attention across the river. The island was a vestige of\ncolonial times offering some refuge from the city\u2019s wafting miasma of open sewers and crippled kittens feeding\non discarded organ meat. Tourists came here to play out their oriental fantasies and drink black market liquids\nwith aging bon vivants who sought shelter from puritanical sandstorms. Discrete bars along the riverfront offered\nsmall windows onto a sensual past where one could find momentary reasons to be cheerful. I sat there getting\ndrunker and drunker surrounded by men who made small fortunes repairing the hymens of veiled women and smuggling fast food through border tunnels. We felt no urgency to rebel against the confines of our\nlives.br>\n\n\t\t\t\t\t\t Untranslated news stories cycled through a pixelated grid on a corner television. The Court of Cassation annulled the constitutional referendum, a weapons cache was uncovered in an antique clock store on Al Sad Al Aali, another employee of the Electricity Ministry self immolated, a state of emergency had been\ndeclared in the delta region, the barricades were holding.br>\n\n\t\t\t\t\t\t Then it was learned the President had made another urgent speech, speaking of situations and insisting on\nmeaning. He had lost control of the Islamists. Men in starched white tunics peered through the bar window\nrousing the sleepy matron into a half-hearted tirade against the suppression of the immorals. She threatened to\ndisplay the pubic hair she had shaven into the shape of a cleric\u2019s beard, but soon settled back into her ancestral\npost, silently smoking next to the register.br>\n\n\t\t\t\t\t\t And we can never wrap our hands together in the same way again however much we may wish to hold or\nclasp or cradle the brilliant body and its fermenting distempers.br>\n\n\t\t\t\t\t\t He came for me after curfew on Rejection Friday wearing a surgical mask. When I resisted, he tore off my\nshirt. After I resisted some more, he tore off my pants and underpants. He kept telling me to stand up and I\nresponded with my injuries. We grappled and flipped over the bannister, crashing downstairs into another\nsituation.br>\n\n\t\t\t\t\t\t The rebels smashed our defenses on three sides prompting the armed forces spokesperson to issue a\ndestruction alert. Sirens sounded in all the metro stations and noise accumulated in the square. We killed a great\nmany of them from helicopters, reducing their terror camps to fields of fire, but many more came from all\ndispositions to taste history. The President\u2019s last known orders were to flood the tunnels and burn the petitions. A provisional government was established and detained us in aging municipal buildings while they\nadjudicated the bureaucracy of retribution. They spoke to me softly in a yellow room. I removed my belt and\nshoelaces searching the wild eyes of children for the prospect of silence.br>\nbr>\n\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\n\t\nbr>img width\1680\ height\1200\ width_o\1680\ height_o\1200\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/1739a1663c77a480d56903c33605a978390babda0813af82177980e51dead79c\/Fire_In_Cairo_Cover.jpg\ data-mid\88778331\ border\0\ data-no-zoom\/>br>This original story is included in i>Fire in Cairo\/i>br>\nbr>img width\401\ height\533\ width_o\401\ height_o\533\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/e4016f1a503e189a1633ef70e58ebe38a855af2c3915fa93ec07753cf50c9bf1\/Screen-Shot-2020-11-13-at-3.20.19-PM.png\ data-mid\88778332\ border\0\ data-no-zoom\/>br>An early version of this story first appeared in i>Transgressor Magazine\/i>\n\nbr>,thumb:88778332,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{mid:88763475,duplicate:false,page_id:16297427,image_ref:{image 1},id:88778332,project_id:16297427,name:Screen-Shot-2020-11-13-at-3.20.19-PM.png,hash:e4016f1a503e189a1633ef70e58ebe38a855af2c3915fa93ec07753cf50c9bf1,width:401,height:533,sort:0,exclude_from_backdrop:false,date_added:1605307680},stored:{ratio:132.91770573566,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:false,sort:95,index:0,set_id:16292963,page_options:{using_local_css:true,local_css:local-style\16297427\ .container_width {\n\twidth: 100% \/*!content_center*\/;\n}\n\nlocal-style\16297427\ body {\n}\n\nlocal-style\16297427\ .backdrop {\n\twidth: 100% \/*!background_cover*\/;\n}\n\nlocal-style\16297427\ .page {\n}\n\nlocal-style\16297427\ .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\nlocal-style\16297427\ .content_padding {\n\tpadding-right: 2.5rem \/*!main_margin*\/;\n}\n\ndata-predefined-style\true\ local-style\16297427\ bodycopy {\n}\n\ndata-predefined-style\true\ local-style\16297427\ bodycopy a {\n}\n\ndata-predefined-style\true\ local-style\16297427\ bodycopy a:hover {\n}\n\ndata-predefined-style\true\ local-style\16297427\ h1 {\n}\n\ndata-predefined-style\true\ local-style\16297427\ h1 a {\n}\n\ndata-predefined-style\true\ local-style\16297427\ h1 a:hover {\n}\n\ndata-predefined-style\true\ local-style\16297427\ h2 {\n}\n\ndata-predefined-style\true\ local-style\16297427\ h2 a {\n}\n\ndata-predefined-style\true\ local-style\16297427\ h2 a:hover {\n}\n\ndata-predefined-style\true\ local-style\16297427\ small {\n}\n\ndata-predefined-style\true\ local-style\16297427\ small a {\n}\n\ndata-predefined-style\true\ local-style\16297427\ small a:hover {\n}\n\nlocal-style\16297427\ .container {\n},local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:true,page_container_bgcolor:,show_local_thumbs:false,page_bgcolor:,main_margin:1.5,main_margin_top:1.5,main_margin_right:2.5,main_margin_bottom:1.5,main_margin_left:1.5},pin_options:{position:top,overlay:false,fixed:false,exclude_mobile:false,exclude_desktop:true,accommodate:true}},set_open:false,images:{id:88778331,project_id:16297427,image_ref:{image 2},name:Fire_In_Cairo_Cover.jpg,hash:1739a1663c77a480d56903c33605a978390babda0813af82177980e51dead79c,width:1680,height:1200,sort:0,exclude_from_backdrop:false,date_added:1605307680},{id:88778332,project_id:16297427,image_ref:{image 1},name:Screen-Shot-2020-11-13-at-3.20.19-PM.png,hash:e4016f1a503e189a1633ef70e58ebe38a855af2c3915fa93ec07753cf50c9bf1,width:401,height:533,sort:0,exclude_from_backdrop:false,date_added:1605307680},backdrop:null}},{id:16292017,title:Teignmouth Electron,project_url:Teignmouth-Electron,set_id:16292353,is_homepage:false,pin:false,is_set:true,in_nav:false,stack:false,sort:96,index:2,page_count:0,pin_position:null,thumbnail_options:null,pages:{id:16292019,site_id:868680,project_url:teignmouth-images,direct_link:https:\/\/matthewconnors.com\/teignmouth-images,type:page,title:teignmouth images,title_no_html:teignmouth images,tags:,display:false,pin:true,pin_options:{position:top,overlay:true,fixed:true,exclude_mobile:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:Tacita Dean, Teignmouth Electron. Cayman Brac, 1999\n\nThis book review first appeared on\u00a0Highlights.org,content:br>br>\nbr>img width\500\ height\403\ width_o\500\ height_o\403\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/f0bba17f09ce21ab1e5c9fe4d90c18b031eccc7b4638b9fb1282707173f1b9a1\/200801_mattconnors_img_1.jpg\ data-mid\88749452\ border\0\ data-no-zoom\/>br>Tacita Dean, i>Teignmouth Electron\/i>. Cayman Brac, 1999\nbr>This book review first appeared on a href\http:\/\/thehighlights.org\/wp\/teignmouth-electron-by-tacita-dean\/\ target\_blank\>Highlights.org\/a>,content_no_html:\n{image 7 no-zoom}Tacita Dean, Teignmouth Electron. Cayman Brac, 1999\nThis book review first appeared on Highlights.org,content_partial_html:br>br>\nbr>img width\500\ height\403\ width_o\500\ height_o\403\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/f0bba17f09ce21ab1e5c9fe4d90c18b031eccc7b4638b9fb1282707173f1b9a1\/200801_mattconnors_img_1.jpg\ data-mid\88749452\ border\0\ data-no-zoom\/>br>Tacita Dean, i>Teignmouth Electron\/i>. Cayman Brac, 1999\nbr>This book review first appeared on a href\http:\/\/thehighlights.org\/wp\/teignmouth-electron-by-tacita-dean\/\ target\_blank\>Highlights.org\/a>,thumb:88749452,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{width:500,height:403,file_size:207047,mid:88749452,name:200801_mattconnors_img_1.jpg,hash:f0bba17f09ce21ab1e5c9fe4d90c18b031eccc7b4638b9fb1282707173f1b9a1,page_id:16292019,id:88749452,project_id:16292019,image_ref:{image 7},sort:0,exclude_from_backdrop:false,date_added:1605296713,duplicate:false},stored:{ratio:80.6,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:false,sort:97,index:0,set_id:16292017,page_options:{using_local_css:true,local_css:local-style\16292019\ .container_width {\n\twidth: 33% \/*!variable_defaults*\/;\n}\n\nlocal-style\16292019\ body {\n\tbackground-color: initial \/*!variable_defaults*\/;\n}\n\nlocal-style\16292019\ .backdrop {\n}\n\nlocal-style\16292019\ .page {\n}\n\nlocal-style\16292019\ .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\nlocal-style\16292019\ .content_padding {\n\tpadding-top: 1.5rem \/*!main_margin*\/;\n\tpadding-bottom: 1.5rem \/*!main_margin*\/;\n\tpadding-left: 1.5rem \/*!main_margin*\/;\n\tpadding-right: 1.5rem \/*!main_margin*\/;\n}\n\ndata-predefined-style\true\ local-style\16292019\ bodycopy {\n}\n\ndata-predefined-style\true\ local-style\16292019\ bodycopy a {\n}\n\ndata-predefined-style\true\ local-style\16292019\ bodycopy a:hover {\n}\n\ndata-predefined-style\true\ local-style\16292019\ h1 {\n}\n\ndata-predefined-style\true\ local-style\16292019\ h1 a {\n}\n\ndata-predefined-style\true\ local-style\16292019\ h1 a:hover {\n}\n\ndata-predefined-style\true\ local-style\16292019\ h2 {\n}\n\ndata-predefined-style\true\ local-style\16292019\ h2 a {\n}\n\ndata-predefined-style\true\ local-style\16292019\ h2 a:hover {\n}\n\ndata-predefined-style\true\ local-style\16292019\ small {\n}\n\ndata-predefined-style\true\ local-style\16292019\ small a {\n}\n\ndata-predefined-style\true\ local-style\16292019\ small a:hover {\n}\n\nlocal-style\16292019\ .container {\n\tmargin-left: 0 \/*!content_left*\/;\n},local_layout_options:{split_layout:false,split_responsive:false,content_position:left_cover,content_width:33,full_height:false,main_margin:1.5,advanced_padding_enabled:false,main_margin_top:1.5,main_margin_right:1.5,main_margin_bottom:1.5,main_margin_left:1.5,page_container_bgcolor:,show_local_thumbs:false,page_bgcolor:},pin_options:{position:top,overlay:true,fixed:true,exclude_mobile:true}},set_open:false,images:{id:88749452,project_id:16292019,image_ref:{image 7},name:200801_mattconnors_img_1.jpg,hash:f0bba17f09ce21ab1e5c9fe4d90c18b031eccc7b4638b9fb1282707173f1b9a1,width:500,height:403,sort:0,exclude_from_backdrop:false,date_added:1605296713},backdrop:null},{id:16292020,site_id:868680,project_url:teignmouth-text,direct_link:https:\/\/matthewconnors.com\/teignmouth-text,type:page,title:teignmouth text,title_no_html:teignmouth text,tags:,display:false,pin:true,pin_options:{position:top,overlay:true,fixed:true,exclude_mobile:true,exclude_desktop:false,accommodate:false},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:Review of Tacita Dean\u2019s Teignmouth Electron\nMatthew Connors\nThe Highlights (March, 2008)\n\nIf history is a pact between the living and the dead, the...,content:br>br>br>\nb>Review of Tacita Dean\u2019s i>Teignmouth Electron\/i>\/b>br>Matthew Connorsbr>i>The Highlights \/i>(March, 2008)br>br>If history is a pact between the living and the dead, the self-destructive would be wise to strike an accord with Tacita Dean. Her slender and beautifully constructed book i>Teignmouth Electron\/i> reexamines the fateful voyage of Donald Crowhurst, an amateur sailor who disappeared at sea during the 1968 Golden Globe solo, nonstop, around-the-world yacht race. A victim of his own delusions and the politics of a provincial seaside village, he set out from Teignmouth, Devon, with scant experience and an unfit boat. When his abandoned vessel was found drifting in the mid-Atlantic eight months later, it was discovered that he never made it past the Cape of Good Hope. Fearful of entering the roaring forties, Crowhurst spent months meandering off the coast of Argentina. After a protracted radio silence, he began issuing false reports that exaggerated his progress. To much fanfare, the public believed him to be the race leader and on the verge of setting a new world record. His logbooks later revealed a mind anguished by overwhelming pressure to succeed and the inescapable deception he set in motion. Increasingly distressed, he withdrew to an internal world dominated by an obsession with time and abstract metaphysical speculations. He convinced himself he was floating through prehistory, and ultimately jumped overboard with his faulty chronometer. It is a remarkable story of a mind driven to despair by extreme isolation in an unyielding environment worthy of Herzogian investigation. Well-documented in numerous articles, a non-fiction book, and a recent documentary, the events have also been the basis of two fictional films and a novel. Dean\u2019s book, though, takes a much more oblique approach to these events. She engages in an experiential investigation of the tangible artifacts and cultural memory of Crowhurst\u2019s voyage, splicing herself into his sensational story of estrangement and self-destruction.br>\nbr>\nLike the hastily built trimaron from which its title is derived, i>Teignmouth Electron\/i> is a loose patchwork of disparate sources. It is the culmination of several years of Dean\u2019s personal research and involvement, weaving together brief essays, photographs, travelogues, complex anecdotes, film analyses, accounts of dreams, and a correspondence with J.G. Ballard. Rooted in her various modes of engagement with the narrative, the book often follows unpredictable threads to find unexpected connections. It opens with the eerily resonant lyrics of Bowie\u2019s i>Space Oddity\/i> \u2014 written in the same year that Crowhurst disappeared \u2014 and at times seems to get lost in a sea of associations, contemplating the echoes of past (Antoine de Saint-Exup\u00e9ry), contemporaneous (Brian Jones), and subsequent (Bas Jan Ader) plights. What threads these elements together is not so much the potency of the tale itself, but her pursuit of the perceptible residues and tangential associations offered by objects and people connected to Crowhurst\u2019s voyage.br>\nbr>\nIn search of these residues, Dean set out on her own journeys to Teignmouth and, later, to Cayman Brac, where she photographed the book\u2019s eponymous trimaron beached in its final resting place. She states, \u201cWhen someone disappears at sea the boat is their last physical embodiment\u2026 I had to go\u2026 it was really important.\u201d Traces of Crowhurst and his ordeal are palpable in these haunting photographs. They show a weather-beaten, sun-bleached vessel dissolving into the lush foliage of its tropical surroundings. Dean thoroughly documents the boat that has clearly been ravaged by the elements and looters. One photograph shows the remnants of rusted cans, other decayed provisions, and a cluster of unused flares she discovered in a secret hatch on the bottom of the boat\u2019s hull. So great was Crowhurst\u2019s fear of capsizing that he had these compartments custom-designed. Another shows the boat angled toward the nearby sea, a solitary palm tree obstructing its path.br>\nbr>\nEschewing a wealth of original 16mm footage and photographs\u2014much of which was shot by Crowhurst himself \u2014 the book adopts her poignant photographs of the Electron as its visual cynosure. The decrepit yacht is the closest tangible link to Crowhurst\u2019s experiences and is at the center of Dean\u2019s involvement. Aligned with the Barthian notion that photographs often supplant rather than supplement memory, Dean uses her images to bypass accepted accounts in an attempt to reinterpret the Crowhurst story. Her photographs, as well as the detailed account of the Electron\u2019s subsequent history \u2014 from cursed Jamaican pleasure cruiser to abandoned restoration project \u2014 are documents of the narrative\u2019s surviving documents. They form the epicenter around which she calibrates her sympathies.br>\nbr>\nTacita Dean\u2019s compassion for Crowhurst is pronounced. She hints at a solidarity, albeit grossly exaggerated, when recounting her troubles with the weather and airport timetables while obsessively photographing the Electron on its \u2018claustrophobic\u2019 island. Hers is a questionable rendition that repositions Crowhurst as a semi-heroic figure. It downplays that his demise was largely self-inflicted, brought on by his bravado and incompetence. From his initial descent into time-madness to his cryptic last log entry, \u201cit is finished. it is finished. it is the mercy,\u201d she sees him as a victim whose suicide was an atonement for his sin of concealment \u2014 a means of revealing himself. \u201cIf you ask anybody about Donald Crowhurst, they will talk, more often than not, about fraud and deceit, and about the man who faked his journey around the world. But the story of Donald Crowhurst is more about integrity than forgery. It is a story about truth.\u201d However you judge Crowhurst\u2019s role in his deception and the cosmic chess game he chose to play, i>Teignmouth Electron\/i> is a compelling insight into this remarkable story of human frailty and failure.br>,content_no_html:\nReview of Tacita Dean\u2019s Teignmouth ElectronMatthew ConnorsThe Highlights (March, 2008)If history is a pact between the living and the dead, the self-destructive would be wise to strike an accord with Tacita Dean. Her slender and beautifully constructed book Teignmouth Electron reexamines the fateful voyage of Donald Crowhurst, an amateur sailor who disappeared at sea during the 1968 Golden Globe solo, nonstop, around-the-world yacht race. A victim of his own delusions and the politics of a provincial seaside village, he set out from Teignmouth, Devon, with scant experience and an unfit boat. When his abandoned vessel was found drifting in the mid-Atlantic eight months later, it was discovered that he never made it past the Cape of Good Hope. Fearful of entering the roaring forties, Crowhurst spent months meandering off the coast of Argentina. After a protracted radio silence, he began issuing false reports that exaggerated his progress. To much fanfare, the public believed him to be the race leader and on the verge of setting a new world record. His logbooks later revealed a mind anguished by overwhelming pressure to succeed and the inescapable deception he set in motion. Increasingly distressed, he withdrew to an internal world dominated by an obsession with time and abstract metaphysical speculations. He convinced himself he was floating through prehistory, and ultimately jumped overboard with his faulty chronometer. It is a remarkable story of a mind driven to despair by extreme isolation in an unyielding environment worthy of Herzogian investigation. Well-documented in numerous articles, a non-fiction book, and a recent documentary, the events have also been the basis of two fictional films and a novel. Dean\u2019s book, though, takes a much more oblique approach to these events. She engages in an experiential investigation of the tangible artifacts and cultural memory of Crowhurst\u2019s voyage, splicing herself into his sensational story of estrangement and self-destruction.\n\nLike the hastily built trimaron from which its title is derived, Teignmouth Electron is a loose patchwork of disparate sources. It is the culmination of several years of Dean\u2019s personal research and involvement, weaving together brief essays, photographs, travelogues, complex anecdotes, film analyses, accounts of dreams, and a correspondence with J.G. Ballard. Rooted in her various modes of engagement with the narrative, the book often follows unpredictable threads to find unexpected connections. It opens with the eerily resonant lyrics of Bowie\u2019s Space Oddity \u2014 written in the same year that Crowhurst disappeared \u2014 and at times seems to get lost in a sea of associations, contemplating the echoes of past (Antoine de Saint-Exup\u00e9ry), contemporaneous (Brian Jones), and subsequent (Bas Jan Ader) plights. What threads these elements together is not so much the potency of the tale itself, but her pursuit of the perceptible residues and tangential associations offered by objects and people connected to Crowhurst\u2019s voyage.\n\nIn search of these residues, Dean set out on her own journeys to Teignmouth and, later, to Cayman Brac, where she photographed the book\u2019s eponymous trimaron beached in its final resting place. She states, \u201cWhen someone disappears at sea the boat is their last physical embodiment\u2026 I had to go\u2026 it was really important.\u201d Traces of Crowhurst and his ordeal are palpable in these haunting photographs. They show a weather-beaten, sun-bleached vessel dissolving into the lush foliage of its tropical surroundings. Dean thoroughly documents the boat that has clearly been ravaged by the elements and looters. One photograph shows the remnants of rusted cans, other decayed provisions, and a cluster of unused flares she discovered in a secret hatch on the bottom of the boat\u2019s hull. So great was Crowhurst\u2019s fear of capsizing that he had these compartments custom-designed. Another shows the boat angled toward the nearby sea, a solitary palm tree obstructing its path.\n\nEschewing a wealth of original 16mm footage and photographs\u2014much of which was shot by Crowhurst himself \u2014 the book adopts her poignant photographs of the Electron as its visual cynosure. The decrepit yacht is the closest tangible link to Crowhurst\u2019s experiences and is at the center of Dean\u2019s involvement. Aligned with the Barthian notion that photographs often supplant rather than supplement memory, Dean uses her images to bypass accepted accounts in an attempt to reinterpret the Crowhurst story. Her photographs, as well as the detailed account of the Electron\u2019s subsequent history \u2014 from cursed Jamaican pleasure cruiser to abandoned restoration project \u2014 are documents of the narrative\u2019s surviving documents. They form the epicenter around which she calibrates her sympathies.\n\nTacita Dean\u2019s compassion for Crowhurst is pronounced. She hints at a solidarity, albeit grossly exaggerated, when recounting her troubles with the weather and airport timetables while obsessively photographing the Electron on its \u2018claustrophobic\u2019 island. Hers is a questionable rendition that repositions Crowhurst as a semi-heroic figure. It downplays that his demise was largely self-inflicted, brought on by his bravado and incompetence. From his initial descent into time-madness to his cryptic last log entry, \u201cit is finished. it is finished. it is the mercy,\u201d she sees him as a victim whose suicide was an atonement for his sin of concealment \u2014 a means of revealing himself. \u201cIf you ask anybody about Donald Crowhurst, they will talk, more often than not, about fraud and deceit, and about the man who faked his journey around the world. But the story of Donald Crowhurst is more about integrity than forgery. It is a story about truth.\u201d However you judge Crowhurst\u2019s role in his deception and the cosmic chess game he chose to play, Teignmouth Electron is a compelling insight into this remarkable story of human frailty and failure.,content_partial_html:br>br>br>\nb>Review of Tacita Dean\u2019s i>Teignmouth Electron\/i>\/b>br>Matthew Connorsbr>i>The Highlights \/i>(March, 2008)br>br>If history is a pact between the living and the dead, the self-destructive would be wise to strike an accord with Tacita Dean. Her slender and beautifully constructed book i>Teignmouth Electron\/i> reexamines the fateful voyage of Donald Crowhurst, an amateur sailor who disappeared at sea during the 1968 Golden Globe solo, nonstop, around-the-world yacht race. A victim of his own delusions and the politics of a provincial seaside village, he set out from Teignmouth, Devon, with scant experience and an unfit boat. When his abandoned vessel was found drifting in the mid-Atlantic eight months later, it was discovered that he never made it past the Cape of Good Hope. Fearful of entering the roaring forties, Crowhurst spent months meandering off the coast of Argentina. After a protracted radio silence, he began issuing false reports that exaggerated his progress. To much fanfare, the public believed him to be the race leader and on the verge of setting a new world record. His logbooks later revealed a mind anguished by overwhelming pressure to succeed and the inescapable deception he set in motion. Increasingly distressed, he withdrew to an internal world dominated by an obsession with time and abstract metaphysical speculations. He convinced himself he was floating through prehistory, and ultimately jumped overboard with his faulty chronometer. It is a remarkable story of a mind driven to despair by extreme isolation in an unyielding environment worthy of Herzogian investigation. Well-documented in numerous articles, a non-fiction book, and a recent documentary, the events have also been the basis of two fictional films and a novel. Dean\u2019s book, though, takes a much more oblique approach to these events. She engages in an experiential investigation of the tangible artifacts and cultural memory of Crowhurst\u2019s voyage, splicing herself into his sensational story of estrangement and self-destruction.br>\nbr>\nLike the hastily built trimaron from which its title is derived, i>Teignmouth Electron\/i> is a loose patchwork of disparate sources. It is the culmination of several years of Dean\u2019s personal research and involvement, weaving together brief essays, photographs, travelogues, complex anecdotes, film analyses, accounts of dreams, and a correspondence with J.G. Ballard. Rooted in her various modes of engagement with the narrative, the book often follows unpredictable threads to find unexpected connections. It opens with the eerily resonant lyrics of Bowie\u2019s i>Space Oddity\/i> \u2014 written in the same year that Crowhurst disappeared \u2014 and at times seems to get lost in a sea of associations, contemplating the echoes of past (Antoine de Saint-Exup\u00e9ry), contemporaneous (Brian Jones), and subsequent (Bas Jan Ader) plights. What threads these elements together is not so much the potency of the tale itself, but her pursuit of the perceptible residues and tangential associations offered by objects and people connected to Crowhurst\u2019s voyage.br>\nbr>\nIn search of these residues, Dean set out on her own journeys to Teignmouth and, later, to Cayman Brac, where she photographed the book\u2019s eponymous trimaron beached in its final resting place. She states, \u201cWhen someone disappears at sea the boat is their last physical embodiment\u2026 I had to go\u2026 it was really important.\u201d Traces of Crowhurst and his ordeal are palpable in these haunting photographs. They show a weather-beaten, sun-bleached vessel dissolving into the lush foliage of its tropical surroundings. Dean thoroughly documents the boat that has clearly been ravaged by the elements and looters. One photograph shows the remnants of rusted cans, other decayed provisions, and a cluster of unused flares she discovered in a secret hatch on the bottom of the boat\u2019s hull. So great was Crowhurst\u2019s fear of capsizing that he had these compartments custom-designed. Another shows the boat angled toward the nearby sea, a solitary palm tree obstructing its path.br>\nbr>\nEschewing a wealth of original 16mm footage and photographs\u2014much of which was shot by Crowhurst himself \u2014 the book adopts her poignant photographs of the Electron as its visual cynosure. The decrepit yacht is the closest tangible link to Crowhurst\u2019s experiences and is at the center of Dean\u2019s involvement. Aligned with the Barthian notion that photographs often supplant rather than supplement memory, Dean uses her images to bypass accepted accounts in an attempt to reinterpret the Crowhurst story. Her photographs, as well as the detailed account of the Electron\u2019s subsequent history \u2014 from cursed Jamaican pleasure cruiser to abandoned restoration project \u2014 are documents of the narrative\u2019s surviving documents. They form the epicenter around which she calibrates her sympathies.br>\nbr>\nTacita Dean\u2019s compassion for Crowhurst is pronounced. She hints at a solidarity, albeit grossly exaggerated, when recounting her troubles with the weather and airport timetables while obsessively photographing the Electron on its \u2018claustrophobic\u2019 island. Hers is a questionable rendition that repositions Crowhurst as a semi-heroic figure. It downplays that his demise was largely self-inflicted, brought on by his bravado and incompetence. From his initial descent into time-madness to his cryptic last log entry, \u201cit is finished. it is finished. it is the mercy,\u201d she sees him as a victim whose suicide was an atonement for his sin of concealment \u2014 a means of revealing himself. \u201cIf you ask anybody about Donald Crowhurst, they will talk, more often than not, about fraud and deceit, and about the man who faked his journey around the world. But the story of Donald Crowhurst is more about integrity than forgery. It is a story about truth.\u201d However you judge Crowhurst\u2019s role in his deception and the cosmic chess game he chose to play, i>Teignmouth Electron\/i> is a compelling insight into this remarkable story of human frailty and failure.br>,thumb:,thumb_meta:null,thumb_is_visible:false,sort:98,index:0,set_id:16292017,page_options:{using_local_css:true,local_css:local-style\16292020\ .container_width {\n\twidth: 67% \/*!variable_defaults*\/;\n}\n\nlocal-style\16292020\ body {\n}\n\nlocal-style\16292020\ .backdrop {\n\twidth: 100% \/*!background_cover*\/;\n}\n\nlocal-style\16292020\ .page {\n}\n\nlocal-style\16292020\ .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\nlocal-style\16292020\ .content_padding {\n\tpadding-right: 2.5rem \/*!main_margin*\/;\n}\n\ndata-predefined-style\true\ local-style\16292020\ bodycopy {\n}\n\ndata-predefined-style\true\ local-style\16292020\ bodycopy a {\n}\n\ndata-predefined-style\true\ local-style\16292020\ bodycopy a:hover {\n}\n\ndata-predefined-style\true\ local-style\16292020\ h1 {\n}\n\ndata-predefined-style\true\ local-style\16292020\ h1 a {\n}\n\ndata-predefined-style\true\ local-style\16292020\ h1 a:hover {\n}\n\ndata-predefined-style\true\ local-style\16292020\ h2 {\n}\n\ndata-predefined-style\true\ local-style\16292020\ h2 a {\n}\n\ndata-predefined-style\true\ local-style\16292020\ h2 a:hover {\n}\n\ndata-predefined-style\true\ local-style\16292020\ small {\n}\n\ndata-predefined-style\true\ local-style\16292020\ small a {\n}\n\ndata-predefined-style\true\ local-style\16292020\ small a:hover {\n}\n\nlocal-style\16292020\ .container {\n\tmargin-right: 0 \/*!content_right*\/;\n},local_layout_options:{split_layout:false,split_responsive:false,full_height:false,advanced_padding_enabled:true,page_container_bgcolor:,show_local_thumbs:false,page_bgcolor:,content_position:right_cover,content_width:67,main_margin:1.5,main_margin_top:1.5,main_margin_right:2.5,main_margin_bottom:1.5,main_margin_left:1.5},pin_options:{position:top,overlay:true,fixed:true,exclude_mobile:true,exclude_desktop:false,accommodate:false}},set_open:false,images:,backdrop:null},{id:16297470,site_id:868680,project_url:teignmouth-mobile,direct_link:https:\/\/matthewconnors.com\/teignmouth-mobile,type:page,title:teignmouth mobile,title_no_html:teignmouth mobile,tags:,display:false,pin:true,pin_options:{position:top,overlay:false,fixed:false,exclude_mobile:false,accommodate:true,exclude_desktop:true},in_nav:false,is_homepage:false,backdrop_enabled:false,is_set:false,stack:false,excerpt:Review of Tacita Dean\u2019s Teignmouth Electron\nMatthew Connors\nThe Highlights (March, 2008)\n\nIf history is a pact between the living and the dead, the...,content:br>b>Review of Tacita Dean\u2019s i>Teignmouth Electron\/i>\/b>br>Matthew Connorsbr>i>The Highlights \/i>(March, 2008)br>br>If history is a pact between the living and the dead, the self-destructive would be wise to strike an accord with Tacita Dean. Her slender and beautifully constructed book i>Teignmouth Electron\/i> reexamines the fateful voyage of Donald Crowhurst, an amateur sailor who disappeared at sea during the 1968 Golden Globe solo, nonstop, around-the-world yacht race. A victim of his own delusions and the politics of a provincial seaside village, he set out from Teignmouth, Devon, with scant experience and an unfit boat. When his abandoned vessel was found drifting in the mid-Atlantic eight months later, it was discovered that he never made it past the Cape of Good Hope. Fearful of entering the roaring forties, Crowhurst spent months meandering off the coast of Argentina. After a protracted radio silence, he began issuing false reports that exaggerated his progress. To much fanfare, the public believed him to be the race leader and on the verge of setting a new world record. His logbooks later revealed a mind anguished by overwhelming pressure to succeed and the inescapable deception he set in motion. Increasingly distressed, he withdrew to an internal world dominated by an obsession with time and abstract metaphysical speculations. He convinced himself he was floating through prehistory, and ultimately jumped overboard with his faulty chronometer. It is a remarkable story of a mind driven to despair by extreme isolation in an unyielding environment worthy of Herzogian investigation. Well-documented in numerous articles, a non-fiction book, and a recent documentary, the events have also been the basis of two fictional films and a novel. Dean\u2019s book, though, takes a much more oblique approach to these events. She engages in an experiential investigation of the tangible artifacts and cultural memory of Crowhurst\u2019s voyage, splicing herself into his sensational story of estrangement and self-destruction.br>\nbr>\nLike the hastily built trimaron from which its title is derived, i>Teignmouth Electron\/i> is a loose patchwork of disparate sources. It is the culmination of several years of Dean\u2019s personal research and involvement, weaving together brief essays, photographs, travelogues, complex anecdotes, film analyses, accounts of dreams, and a correspondence with J.G. Ballard. Rooted in her various modes of engagement with the narrative, the book often follows unpredictable threads to find unexpected connections. It opens with the eerily resonant lyrics of Bowie\u2019s i>Space Oddity\/i> \u2014 written in the same year that Crowhurst disappeared \u2014 and at times seems to get lost in a sea of associations, contemplating the echoes of past (Antoine de Saint-Exup\u00e9ry), contemporaneous (Brian Jones), and subsequent (Bas Jan Ader) plights. What threads these elements together is not so much the potency of the tale itself, but her pursuit of the perceptible residues and tangential associations offered by objects and people connected to Crowhurst\u2019s voyage.br>\nbr>\nIn search of these residues, Dean set out on her own journeys to Teignmouth and, later, to Cayman Brac, where she photographed the book\u2019s eponymous trimaron beached in its final resting place. She states, \u201cWhen someone disappears at sea the boat is their last physical embodiment\u2026 I had to go\u2026 it was really important.\u201d Traces of Crowhurst and his ordeal are palpable in these haunting photographs. They show a weather-beaten, sun-bleached vessel dissolving into the lush foliage of its tropical surroundings. Dean thoroughly documents the boat that has clearly been ravaged by the elements and looters. One photograph shows the remnants of rusted cans, other decayed provisions, and a cluster of unused flares she discovered in a secret hatch on the bottom of the boat\u2019s hull. So great was Crowhurst\u2019s fear of capsizing that he had these compartments custom-designed. Another shows the boat angled toward the nearby sea, a solitary palm tree obstructing its path.br>\nbr>\nEschewing a wealth of original 16mm footage and photographs\u2014much of which was shot by Crowhurst himself \u2014 the book adopts her poignant photographs of the Electron as its visual cynosure. The decrepit yacht is the closest tangible link to Crowhurst\u2019s experiences and is at the center of Dean\u2019s involvement. Aligned with the Barthian notion that photographs often supplant rather than supplement memory, Dean uses her images to bypass accepted accounts in an attempt to reinterpret the Crowhurst story. Her photographs, as well as the detailed account of the Electron\u2019s subsequent history \u2014 from cursed Jamaican pleasure cruiser to abandoned restoration project \u2014 are documents of the narrative\u2019s surviving documents. They form the epicenter around which she calibrates her sympathies.br>\nbr>\nTacita Dean\u2019s compassion for Crowhurst is pronounced. She hints at a solidarity, albeit grossly exaggerated, when recounting her troubles with the weather and airport timetables while obsessively photographing the Electron on its \u2018claustrophobic\u2019 island. Hers is a questionable rendition that repositions Crowhurst as a semi-heroic figure. It downplays that his demise was largely self-inflicted, brought on by his bravado and incompetence. From his initial descent into time-madness to his cryptic last log entry, \u201cit is finished. it is finished. it is the mercy,\u201d she sees him as a victim whose suicide was an atonement for his sin of concealment \u2014 a means of revealing himself. \u201cIf you ask anybody about Donald Crowhurst, they will talk, more often than not, about fraud and deceit, and about the man who faked his journey around the world. But the story of Donald Crowhurst is more about integrity than forgery. It is a story about truth.\u201d However you judge Crowhurst\u2019s role in his deception and the cosmic chess game he chose to play, i>Teignmouth Electron\/i> is a compelling insight into this remarkable story of human frailty and failure.br>br>img width\500\ height\403\ width_o\500\ height_o\403\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/f0bba17f09ce21ab1e5c9fe4d90c18b031eccc7b4638b9fb1282707173f1b9a1\/200801_mattconnors_img_1.jpg\ data-mid\88778568\ border\0\ data-no-zoom\/>br>Tacita Dean, i>Teignmouth Electron\/i>. Cayman Brac, 1999br>This book review first appeared on a href\http:\/\/thehighlights.org\/wp\/teignmouth-electron-by-tacita-dean\/\ target\_blank\>Highlights.org\/a>\nbr>,content_no_html:Review of Tacita Dean\u2019s Teignmouth ElectronMatthew ConnorsThe Highlights (March, 2008)If history is a pact between the living and the dead, the self-destructive would be wise to strike an accord with Tacita Dean. Her slender and beautifully constructed book Teignmouth Electron reexamines the fateful voyage of Donald Crowhurst, an amateur sailor who disappeared at sea during the 1968 Golden Globe solo, nonstop, around-the-world yacht race. A victim of his own delusions and the politics of a provincial seaside village, he set out from Teignmouth, Devon, with scant experience and an unfit boat. When his abandoned vessel was found drifting in the mid-Atlantic eight months later, it was discovered that he never made it past the Cape of Good Hope. Fearful of entering the roaring forties, Crowhurst spent months meandering off the coast of Argentina. After a protracted radio silence, he began issuing false reports that exaggerated his progress. To much fanfare, the public believed him to be the race leader and on the verge of setting a new world record. His logbooks later revealed a mind anguished by overwhelming pressure to succeed and the inescapable deception he set in motion. Increasingly distressed, he withdrew to an internal world dominated by an obsession with time and abstract metaphysical speculations. He convinced himself he was floating through prehistory, and ultimately jumped overboard with his faulty chronometer. It is a remarkable story of a mind driven to despair by extreme isolation in an unyielding environment worthy of Herzogian investigation. Well-documented in numerous articles, a non-fiction book, and a recent documentary, the events have also been the basis of two fictional films and a novel. Dean\u2019s book, though, takes a much more oblique approach to these events. She engages in an experiential investigation of the tangible artifacts and cultural memory of Crowhurst\u2019s voyage, splicing herself into his sensational story of estrangement and self-destruction.\n\nLike the hastily built trimaron from which its title is derived, Teignmouth Electron is a loose patchwork of disparate sources. It is the culmination of several years of Dean\u2019s personal research and involvement, weaving together brief essays, photographs, travelogues, complex anecdotes, film analyses, accounts of dreams, and a correspondence with J.G. Ballard. Rooted in her various modes of engagement with the narrative, the book often follows unpredictable threads to find unexpected connections. It opens with the eerily resonant lyrics of Bowie\u2019s Space Oddity \u2014 written in the same year that Crowhurst disappeared \u2014 and at times seems to get lost in a sea of associations, contemplating the echoes of past (Antoine de Saint-Exup\u00e9ry), contemporaneous (Brian Jones), and subsequent (Bas Jan Ader) plights. What threads these elements together is not so much the potency of the tale itself, but her pursuit of the perceptible residues and tangential associations offered by objects and people connected to Crowhurst\u2019s voyage.\n\nIn search of these residues, Dean set out on her own journeys to Teignmouth and, later, to Cayman Brac, where she photographed the book\u2019s eponymous trimaron beached in its final resting place. She states, \u201cWhen someone disappears at sea the boat is their last physical embodiment\u2026 I had to go\u2026 it was really important.\u201d Traces of Crowhurst and his ordeal are palpable in these haunting photographs. They show a weather-beaten, sun-bleached vessel dissolving into the lush foliage of its tropical surroundings. Dean thoroughly documents the boat that has clearly been ravaged by the elements and looters. One photograph shows the remnants of rusted cans, other decayed provisions, and a cluster of unused flares she discovered in a secret hatch on the bottom of the boat\u2019s hull. So great was Crowhurst\u2019s fear of capsizing that he had these compartments custom-designed. Another shows the boat angled toward the nearby sea, a solitary palm tree obstructing its path.\n\nEschewing a wealth of original 16mm footage and photographs\u2014much of which was shot by Crowhurst himself \u2014 the book adopts her poignant photographs of the Electron as its visual cynosure. The decrepit yacht is the closest tangible link to Crowhurst\u2019s experiences and is at the center of Dean\u2019s involvement. Aligned with the Barthian notion that photographs often supplant rather than supplement memory, Dean uses her images to bypass accepted accounts in an attempt to reinterpret the Crowhurst story. Her photographs, as well as the detailed account of the Electron\u2019s subsequent history \u2014 from cursed Jamaican pleasure cruiser to abandoned restoration project \u2014 are documents of the narrative\u2019s surviving documents. They form the epicenter around which she calibrates her sympathies.\n\nTacita Dean\u2019s compassion for Crowhurst is pronounced. She hints at a solidarity, albeit grossly exaggerated, when recounting her troubles with the weather and airport timetables while obsessively photographing the Electron on its \u2018claustrophobic\u2019 island. Hers is a questionable rendition that repositions Crowhurst as a semi-heroic figure. It downplays that his demise was largely self-inflicted, brought on by his bravado and incompetence. From his initial descent into time-madness to his cryptic last log entry, \u201cit is finished. it is finished. it is the mercy,\u201d she sees him as a victim whose suicide was an atonement for his sin of concealment \u2014 a means of revealing himself. \u201cIf you ask anybody about Donald Crowhurst, they will talk, more often than not, about fraud and deceit, and about the man who faked his journey around the world. But the story of Donald Crowhurst is more about integrity than forgery. It is a story about truth.\u201d However you judge Crowhurst\u2019s role in his deception and the cosmic chess game he chose to play, Teignmouth Electron is a compelling insight into this remarkable story of human frailty and failure.{image 1 no-zoom}Tacita Dean, Teignmouth Electron. Cayman Brac, 1999This book review first appeared on Highlights.org\n,content_partial_html:br>b>Review of Tacita Dean\u2019s i>Teignmouth Electron\/i>\/b>br>Matthew Connorsbr>i>The Highlights \/i>(March, 2008)br>br>If history is a pact between the living and the dead, the self-destructive would be wise to strike an accord with Tacita Dean. Her slender and beautifully constructed book i>Teignmouth Electron\/i> reexamines the fateful voyage of Donald Crowhurst, an amateur sailor who disappeared at sea during the 1968 Golden Globe solo, nonstop, around-the-world yacht race. A victim of his own delusions and the politics of a provincial seaside village, he set out from Teignmouth, Devon, with scant experience and an unfit boat. When his abandoned vessel was found drifting in the mid-Atlantic eight months later, it was discovered that he never made it past the Cape of Good Hope. Fearful of entering the roaring forties, Crowhurst spent months meandering off the coast of Argentina. After a protracted radio silence, he began issuing false reports that exaggerated his progress. To much fanfare, the public believed him to be the race leader and on the verge of setting a new world record. His logbooks later revealed a mind anguished by overwhelming pressure to succeed and the inescapable deception he set in motion. Increasingly distressed, he withdrew to an internal world dominated by an obsession with time and abstract metaphysical speculations. He convinced himself he was floating through prehistory, and ultimately jumped overboard with his faulty chronometer. It is a remarkable story of a mind driven to despair by extreme isolation in an unyielding environment worthy of Herzogian investigation. Well-documented in numerous articles, a non-fiction book, and a recent documentary, the events have also been the basis of two fictional films and a novel. Dean\u2019s book, though, takes a much more oblique approach to these events. She engages in an experiential investigation of the tangible artifacts and cultural memory of Crowhurst\u2019s voyage, splicing herself into his sensational story of estrangement and self-destruction.br>\nbr>\nLike the hastily built trimaron from which its title is derived, i>Teignmouth Electron\/i> is a loose patchwork of disparate sources. It is the culmination of several years of Dean\u2019s personal research and involvement, weaving together brief essays, photographs, travelogues, complex anecdotes, film analyses, accounts of dreams, and a correspondence with J.G. Ballard. Rooted in her various modes of engagement with the narrative, the book often follows unpredictable threads to find unexpected connections. It opens with the eerily resonant lyrics of Bowie\u2019s i>Space Oddity\/i> \u2014 written in the same year that Crowhurst disappeared \u2014 and at times seems to get lost in a sea of associations, contemplating the echoes of past (Antoine de Saint-Exup\u00e9ry), contemporaneous (Brian Jones), and subsequent (Bas Jan Ader) plights. What threads these elements together is not so much the potency of the tale itself, but her pursuit of the perceptible residues and tangential associations offered by objects and people connected to Crowhurst\u2019s voyage.br>\nbr>\nIn search of these residues, Dean set out on her own journeys to Teignmouth and, later, to Cayman Brac, where she photographed the book\u2019s eponymous trimaron beached in its final resting place. She states, \u201cWhen someone disappears at sea the boat is their last physical embodiment\u2026 I had to go\u2026 it was really important.\u201d Traces of Crowhurst and his ordeal are palpable in these haunting photographs. They show a weather-beaten, sun-bleached vessel dissolving into the lush foliage of its tropical surroundings. Dean thoroughly documents the boat that has clearly been ravaged by the elements and looters. One photograph shows the remnants of rusted cans, other decayed provisions, and a cluster of unused flares she discovered in a secret hatch on the bottom of the boat\u2019s hull. So great was Crowhurst\u2019s fear of capsizing that he had these compartments custom-designed. Another shows the boat angled toward the nearby sea, a solitary palm tree obstructing its path.br>\nbr>\nEschewing a wealth of original 16mm footage and photographs\u2014much of which was shot by Crowhurst himself \u2014 the book adopts her poignant photographs of the Electron as its visual cynosure. The decrepit yacht is the closest tangible link to Crowhurst\u2019s experiences and is at the center of Dean\u2019s involvement. Aligned with the Barthian notion that photographs often supplant rather than supplement memory, Dean uses her images to bypass accepted accounts in an attempt to reinterpret the Crowhurst story. Her photographs, as well as the detailed account of the Electron\u2019s subsequent history \u2014 from cursed Jamaican pleasure cruiser to abandoned restoration project \u2014 are documents of the narrative\u2019s surviving documents. They form the epicenter around which she calibrates her sympathies.br>\nbr>\nTacita Dean\u2019s compassion for Crowhurst is pronounced. She hints at a solidarity, albeit grossly exaggerated, when recounting her troubles with the weather and airport timetables while obsessively photographing the Electron on its \u2018claustrophobic\u2019 island. Hers is a questionable rendition that repositions Crowhurst as a semi-heroic figure. It downplays that his demise was largely self-inflicted, brought on by his bravado and incompetence. From his initial descent into time-madness to his cryptic last log entry, \u201cit is finished. it is finished. it is the mercy,\u201d she sees him as a victim whose suicide was an atonement for his sin of concealment \u2014 a means of revealing himself. \u201cIf you ask anybody about Donald Crowhurst, they will talk, more often than not, about fraud and deceit, and about the man who faked his journey around the world. But the story of Donald Crowhurst is more about integrity than forgery. It is a story about truth.\u201d However you judge Crowhurst\u2019s role in his deception and the cosmic chess game he chose to play, i>Teignmouth Electron\/i> is a compelling insight into this remarkable story of human frailty and failure.br>br>img width\500\ height\403\ width_o\500\ height_o\403\ data-src\https:\/\/freight.cargo.site\/t\/original\/i\/f0bba17f09ce21ab1e5c9fe4d90c18b031eccc7b4638b9fb1282707173f1b9a1\/200801_mattconnors_img_1.jpg\ data-mid\88778568\ border\0\ data-no-zoom\/>br>Tacita Dean, i>Teignmouth Electron\/i>. Cayman Brac, 1999br>This book review first appeared on a href\http:\/\/thehighlights.org\/wp\/teignmouth-electron-by-tacita-dean\/\ target\_blank\>Highlights.org\/a>\nbr>,thumb:88778568,thumb_meta:{thumbnail_crop:{percentWidth:100,marginLeft:0,marginTop:0,imageModel:{mid:88771565,duplicate:false,page_id:16297470,image_ref:{image 1},id:88778568,project_id:16297470,name:200801_mattconnors_img_1.jpg,hash:f0bba17f09ce21ab1e5c9fe4d90c18b031eccc7b4638b9fb1282707173f1b9a1,width:500,height:403,sort:0,exclude_from_backdrop:false,date_added:1605319282},stored:{ratio:80.6,crop_ratio:1x1},cropManuallySet:false}},thumb_is_visible:false,sort:99,index:0,set_id:16292017,page_options:{using_local_css:true,local_css:local-style\16297470\ .container_width {\n\twidth: 100% \/*!content_center*\/;\n}\n\nlocal-style\16297470\ body {\n}\n\nlocal-style\16297470\ .backdrop {\n\twidth: 100% \/*!background_cover*\/;\n}\n\nlocal-style\16297470\ .page {\n}\n\nlocal-style\16297470\ .page_background 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Subdomains
Date
Domain
IP
www.matthewconnors.com
2015-04-13
69.89.31.187
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