Go Memphis on an accumulation of photos
From Eugene Atget’s lonely cityscapes to Diane Arbus’ grotesque portraits, from Bernd and Hilda Bechers’ laconic yet heroic depictions of water towers and natural gas storage tanks to Sally Mann’s disturbing impressions of childhood (four of these, and you cannot avert your eyes), from Robert Frank’s detached yet compassionate vision of American life to Bill Brandt’s distorted and close to abstract female nude figures, the accumulation of feeling is of the transitory nature of human regard and the disintegration of what Heidegger called the “thing-in-itself.”
What tickles me is the first photograph in the post, by Adam Fuss. Adam and I hitchhiked to Stonehenge for the summer solstice in 1979. He taught me how to use a dark room.