Issue 3.29

Summer 2016: Eye to Eye

Editor: Andrea Actis

Eye to Eye (TCR 3.29), a co-production with Presentation House Gallery, features close to fifty writers responding to exactly thirty-five photographs curated from the collection of Andrew Gruft and Claudia Beck. Presented as part of PHG’s recent exhibition Eye to Eye, the photographs, books, and media art by historical and contemporary artists range from iconic vintage prints and photography books to recent photographic and moving picture works. With contributors invited to “play the part of the dramaturge, the essayist, the poet, the historian, the critic, or the jester,” what we offer here is a (very) special issue decidedly stranger and differently illuminating from your standard exhibition catalogue.

With photographs by Henri Cartier-Bresson, Richard Learoyd, Daido Moriyama, Helen Levitt, Richard Maynard, Miroslav Tichý, Aaron Siskind, Robert Capa, Omar Victor Diop, Garry Winogrand, Xavier Miserachs, Otto Steinert, Hiroshi Watanabe, Lynne Cohen, August Sander, Robert Frank, Mike Grill, Scott McFarland, Eikoh Hosoe and Yukio Mishima, Michael Morris, Eugène Atget, Agustí Centelles, Katy Grannan, Stephen Waddell, Raymonde April, Peter Hujar, Bruce Davidson, Al McWilliams, Christos Dikeakos, Kevin Madill, and Anne Collier.

A companion to this issue, ti-TCR 15, is available here.

Xavier Miserachs, "El Piropo a la Via Laietana, Barcelona", 1962
Xavier Miserachs, "El Piropo a la Via Laietana, Barcelona", 1962
Contributors

Editor's Note

Level Heads (on August Sander)

The Encounter Whose Dazzlement Remains (on Henri Cartier-Bresson)

gesture is a gender/ a shining bracelet which amplifies a slim wrist (on Henri Cartier-Bresson)

Street Sorcery (on Manuel Alvarez Bravo)

Doublespeak (on Manuel Alvarez Bravo)

Rituals (on Miroslav Tichý)

Uninsistent Manifesto (on Helen Levitt)

There are eyes everywhere (on Helen Levitt)

Hey, Lady (on Xavier Miserachs)

May you end up... (on Eugène Atget)

The Extimate Gaze (on Richard Learoyd)

A Moment in Wales (on Bruce Davidson)

Lost Relations (on Unknown)

What is not visible (on Richard Maynard)

Picture Collection (on Richard Maynard)

Double Negatives (on Omar Victor Diop)

Into an Image (on Omar Victor Diop)

Time Tunnel (on Scott McFarland)

A Dialectical Image (on Robert Capa)

In the Disturbance (on Agustí Centelles)

The Dance of Violence (on Agustí Centelles)

Eight Notes on Blankness (on Robert Frank)

Church of Invocation (on Aaron Siskind)

Transparent Plastic (on Daido Moriyama)

Terse Graffito (on Al McWilliams)

Image Meets Medium (on Michael Morris)

It's My Party (on Garry Winogrand)

Sister (on Kevin Madill)

her thought, her age, her time (on Katy Grannan)

The Prophet is a Realist of Distances (on Robert Frank)

Exhibit Camouflage! (on Lynne Cohen)

Portrait of a body unseen (on Peter Hujar)

On consumption and vulnerability (on Peter Hujar)

Notes on Barakei (on Eikoh Hosoe and Yukio Mishima)

Forest / Memory / Swamp (on Christos Dikeakos)

Here / Hear (on Christos Dikeakos)

The Tomato (on Mike Grill)

Everyday Looking (on Stephen Waddell)

Where the light falls, or where caffeinated bodies congregate (on Stephen Waddell)

Animal Dress-up (on Hiroshi Watanabe)

It is a yearning for a place (on Otto Steinert)

Pennies Not Dollars, We Are Here to Pay Our Respects (on Otto Steinert)

"Before my book on New York, I was a painter" (on William Klein)

The Forensic Eye (on Anne Collier)

photo mind sati (on Raymonde April)

That Which You Do Not Have Time To Regret (on Daido Moriyama)

COVER: El Piropo a la Via Laietana, Barcelona, 1962

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