Josephine Pryde

  • Josephine Pryde, All-in-one I, 2014, C-print, 14 1/4 × 10 3/4". From the series “Isosceles at Ahlbeck,” 2014.

    Josephine Pryde

    IT IS AS A PRACTITIONER first that I think about photography, and I do not learn anything new without talking to other people who use cameras or who work with the results of what the camera sees. Sometimes the information arrives secondhand.

    A friend picks me up at the railway station, and on our drive home through the country, he tells me that his daughter is teaching primary school in a village a little farther south. He mentions in passing that she wears a camera at school, and points to his shoulder, as if she wears it there, on her body: a mechanical eye on her shoulder. Photographs of the

  • Guy de Cointet, My Father’s Diary, 1975. Performance view, Greene Naftali Gallery, New York, February 4, 2009. Mary Ann Duganne Glicksman.


    To take stock of the past year, Artforum contacted an international group of artists to find out which exhibitions and events were, in their eyes, the very best of 2009.


    “Pierre Bonnard: The Late Interiors” (Metropolitan Museum of Art, New York) You kind of get the feeling that Bonnard was a real artist. He was concerned not with the past (art history), present (his contemporaries), or future (his legacy), but with expressing himself in terms of his own perceptions, interactions, and experiences of the world. Whether of a room, a still life, or a loved one, each painting becomes