“The book title announces the way we remain estranged from and strange to our love(r): When We Were Strangers. The past tense of the title is cannily deceptive, highlighting a key tension, since that ‘when’ is perpetually now: We were, are, and will be strange to and for each other. Love queers time. That oddness, mystery and space between keeps love collaborative and keeps the story moving.’”
“Non-binary may be beyond the categories we think we know, but it also might include and embrace them: male, female, genderqueer, gender-fluid, agender, transgender, etc. The ‘et cetera’ of non-binary identity cannot be overstated. Or can it? I’m caught in a linguistic conundrum: as soon as I write ‘non-binary identity,’ I stop and think, ‘No, the point is non-identification.’”
“Above the bed, half-visible at the margins of the frame, hangs a political poster declaring “Lesbians Unite!” A statement and an imperative, it’s a perfectly cheeky double-entendre. In public and in private, in the streets or between the sheets, Ms. Gottschalk reminds us that the personal is always and necessarily political — and vice versa. “
For this final, Finnish issue of Raw View, founder and creative director Hannamari Shakya invited three diverse thinkers to have a transatlantic conversation about Finnish photography: Cheryl Newman (UK), Donald Weber (Netherlands), and Kerry Manders (Canada). Managing editors Kaisu Tervonen and Tiina Kirkas posed some questions for the trio. Manders moderated the discussion, which has been edited for length and clarity.
Women Looking at Women is a special edition of Raw View dedicated entirely to women photographers with the “hope that it would serve as an inspiration and as a remedy to the paucity of work being published” (Hannamari Shakya, Editor-in-chief). Raw View invited Susan Meiselas to curate and Kerry Manders to write an essay attending to the 22 photographers from around the world (and ranging from the late nineteenth-century to the present day) featured here.
"For Cahun, identity is always a mask — necessarily strange and ambiguous; her oeuvre constructs a self that is mutable and elusive. At times, she looks directly at the camera, daring and defying the audience to return her gaze; other times, she turns and looks away, blindfolding or covering her eyes."
"The artist-daughter, whom we don’t see in any of these photographs, is conjured with her mother: Nightingale refers at least as much to the artist as to her subject, the nightingale long a symbol for both poet and poetry as well as for love and for loss. The Gladstone as exhibition space similarly highlights the tense connectivity of binaries: staying and going, art object and art viewer."
"In Mr. Long Weekend, Ironside performs roles that have been normalized into invisibility and indelibly marks the putatively universal gender that so often remains unmarked and unremarked."
"There are no candid shots, no portrayals of Singh's mother going about her daily business of living. Together, the staged portraits assert that her mother-as-model — with sundry signifiers of a life lived and living (grey hair, wrinkles, calluses, varicose veins, cellulite) on display — is a compelling subject for aesthetic engagement."