“Selection is editing. In a way it’s the opposite of chance. All intention. I used to think of myself as a kind of stock photographer. Making an inventory of images from which I would select.”
︎︎︎ Roe Ethridge from Roe Ethridge on Getting It Exactly Wrong
“When describing how he puts images together in a sequence, Teun van der Heijden draws parallels with film editing. “If you have a couple of people in one photo and then another photo has one person in it, you can use that as a kind of zoom-in effect,” even if it’s a different person in the second photo. When one photo is startlingly different from the previous one, he compares that to a quick cut in a movie. “If you’re gradually changing photos, you can use color for that,” he says. “Sometimes, I can’t explain why the flow works—the images have nothing to do with each other, but the slight pink in this picture continues in the next picture.”
︎︎︎ Teun van der Heijden
“Starting with subject folders from the Collection’s open stacks —Handshaking, Police, Oxygen, Broken Objects, Abandoned Buildings & Towns, and Financial Panics, among others — she arranged and documented their physical contents in large-format photographs, overlapping loosely associated images into tableaux that suggest abstract color fields, neural networks, or tiled search results. For Simon, the act of photography also suspended the Collection in its flux, making explicit the unexpected meaning often derived from its accidental juxtapositions.”
︎︎︎ the New York Public Library on Taryn Simon
︎︎︎ Roe Ethridge from Roe Ethridge on Getting It Exactly Wrong
“When describing how he puts images together in a sequence, Teun van der Heijden draws parallels with film editing. “If you have a couple of people in one photo and then another photo has one person in it, you can use that as a kind of zoom-in effect,” even if it’s a different person in the second photo. When one photo is startlingly different from the previous one, he compares that to a quick cut in a movie. “If you’re gradually changing photos, you can use color for that,” he says. “Sometimes, I can’t explain why the flow works—the images have nothing to do with each other, but the slight pink in this picture continues in the next picture.”
︎︎︎ Teun van der Heijden
“Starting with subject folders from the Collection’s open stacks —Handshaking, Police, Oxygen, Broken Objects, Abandoned Buildings & Towns, and Financial Panics, among others — she arranged and documented their physical contents in large-format photographs, overlapping loosely associated images into tableaux that suggest abstract color fields, neural networks, or tiled search results. For Simon, the act of photography also suspended the Collection in its flux, making explicit the unexpected meaning often derived from its accidental juxtapositions.”
︎︎︎ the New York Public Library on Taryn Simon