No | Text |
1 | Matthew moore: history based landscapes by aline smithson june 1, 2020 |
No | Text |
1 | Recommended |
2 | Matthew moore: history based landscapesjune 1st, 2020 |
3 | Jay simple: exodus home and photographer’s green bookmay 29th, 2020 |
4 | David maisel: proving groundmay 28th, 2020 |
5 | The center awards: excellence in multimedia award 3rd place winner: jodi stuartmay 26th, 2020 |
6 | The center awards: excellence in multimedia award 1st place winner: leonard suryajayamay 24th, 2020 |
7 | Support lenscratch |
8 | Stay up-to-date |
9 | The states project |
10 | Mixtapes |
11 | ınterviews |
12 | Exhibitions |
13 | Recent posts |
14 | Follow us on facebook |
No | Text |
1 | The brian taylor mixtape |
2 | The david rosenberg mixtape |
3 | The jonathan blaustein mixtape |
4 | David maisel: proving ground |
5 | Thesis project: tamrin ıngram |
6 | The 2020 better days exhibition |
7 | The 2020 self-quarantining exhibition |
8 | Matthew moore: history based landscapes june 1st, 2020 |
9 | The 2020 better days exhibition may 30th, 2020 |
10 | Jay simple: exodus home and photographer’s green book may 29th, 2020 |
11 | David maisel: proving ground may 28th, 2020 |
12 | Dm witman: the guide to loss and grieving in the anthropocene may 27th, 2020 |
13 | The center awards: excellence in multimedia award 3rd place winner: jodi stuart may 26th, 2020 |
14 | The center awards: excellence in multimedia award 2nd place winner: catherine hyland may 25th, 2020 |
15 | The center awards: excellence in multimedia award 1st place winner: leonard suryajaya may 24th, 2020 |
16 | The center awards: editor’s choice 3rd place winner: barbara zanon may 23rd, 2020 |
17 | The center awards: the editor’s choice 2nd place: virgil dibiase may 22nd, 2020 |
18 | The center awards: the editor’s choice 1st place/director’s choice 2nd place: noelle mason may 21st, 2020 |
19 | The center awards: the director’s choice award 3rd place winner: cody bratt may 20th, 2020 |
20 | The center awards: the director’s choice award 1st place winner: sandra chen weinstein may 19th, 2020 |
21 | The center awards: the curator’s choice award 3rd place winner: stephanie taiber may 18th, 2020 |
22 | The center awards: the curator’s choice award 2nd place winner: rafael soldi may 17th, 2020 |
23 | The center awards: the curator’s choice award 1st place winner: brandy trigueros may 16th, 2020 |
24 | The center awards: the me & eve award: ada trillo may 15th, 2020 |
25 | The center awards: project launch grant honorable mention: kari wehrs may 14th, 2020 |
26 | The center awards: project launch grant honorable mention: kathleen clark may 13th, 2020 |
27 | The center awards: project launch grant winner: catherine panebianco may 12th, 2020 |
28 | The center awards: project development grant winner: justin maxon may 11th, 2020 |
29 | Thesis project: tamrin ıngram may 10th, 2020 |
30 | Thesis project: paula lycan may 9th, 2020 |
31 | Thesis project: antonia stoyanovich and ca***andra klos may 8th, 2020 |
32 | Thesis project: hannah altman may 7th, 2020 |
33 | Thesis project: phillipa klaiber may 6th, 2020 |
34 | Thesis project: leah schretenthaler may 5th, 2020 |
35 | Thesis project: hugo teixeira and brandon ng may 4th, 2020 |
36 | Reframing the pa***port photo at the wallach gallery at columbia university may 3rd, 2020 |
37 | Distinction at the photographic center north west may 2nd, 2020 |
38 | Archives |
39 | Translate |
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41 | © 2007 - 2019 lenscratch // all rights reserved. |
No | Text |
1 | Matthew Moore |
2 | Post-Socialist Landscapes (2) |
3 | Congratulations on the work, Matthew! What brought you to this project and your interest this particular subject and place in the world? |
4 | If I remember correctly, I told you about one of my favorite books, Slow Paparazzi, with images of unremarkable places where the paparazzi have just missed the celebrity. The fascination is in the idea of what was there and not the actual celebrity. Your work has that same sense of not knowing but knowing. Can you speak about that? |
5 | Our own country is scared with histories and monuments that recognize those troubled histories. In our effort to remove those markers, how does a society doc***ent the negative? How does a society eradicate its horrors, but remember them so they are not repeated? Is this a consideration in the areas you have doc***ented? |
6 | The second part of your project is about the hidden monuments, which is also fascinating. You state that the power has been stripped away from the statues, but isn’t there some power in the owner coveting the objects and making sure they live on? |
7 | What is next for you? |
8 | Posts on Lenscratch may not be reproduced without the permission of the Lenscratch staff and the photographer. |
No | Text |
1 | Post-Socialist Landscapes |
2 | This project is an investigation of the rural and urban landscape of countries that were once occupied by the Soviet Union. The photographs in Post-Socialist Landscapes fall into two groups. The first set of images depicts the exact location where statues of Lenin and Stalin once stood. These photographs seem to portray obscure public squares or city parks, but to some local inhabitants, these spaces are still charged with a more ominous presence. In some cases, the absence of the statue is more obvious, while in others the local government has |
3 | gone to great lengths to transform the space. The second group of photographs focuses on the fate of the discarded communist monuments that once stood throughout the Eastern Bloc. Today they can be found stored behind buildings or gathered in private parks. Placed safely away from public view, their power to intimidate has been stripped from them. Together, these images tell the story of how different societies seek to control historical narratives through manip****tion of the land and urban space. While some cultures go to great lengths to eradicate reminders of their unwanted past, others are willing to let them slowly disintegrate. Some societies even leave purposeful reminders of a painful past in |
4 | an attempt to keep history from repeating itself. This project also calls attention to the process taking place in the United States when it comes to the debate over removing confederate monuments. Now that societies in Europe have had more than thirty years to heal from these wounds, this project may shed light on how the US can deal with its own unfortunate legacies. Regardless of the strategy, our past is recorded in the landscape. Each new layer tells an important story about the way history, and even memory, is shaped by human intervention. |
5 | Congratulations on the work, Matthew! What brought you to this project and your interest this particular subject and place in the world? |
6 | If I remember correctly, I told you about one of my favorite books, Slow Paparazzi, with images of unremarkable places where the paparazzi have just missed the celebrity. The fascination is in the idea of what was there and not the actual celebrity. Your work has that same sense of not knowing but knowing. Can you speak about that? |
7 | Our own country is scared with histories and monuments that recognize those troubled histories. In our effort to remove those markers, how does a society doc***ent the negative? How does a society eradicate its horrors, but remember them so they are not repeated? Is this a consideration in the areas you have doc***ented? |
8 | The second part of your project is about the hidden monuments, which is also fascinating. You state that the power has been stripped away from the statues, but isn’t there some power in the owner coveting the objects and making sure they live on? |
9 | What is next for you? |
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