The contrast between the world outside the hospital, where the physically well cannot find relief from emotional pain, and the world inside the second of Julio Mitchel’s “Two Wards,” is the photographer’s major point. It emerges from neither of these two essays separately; it is created by their combination. […]
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Those core issues — the brevity of life, the spiral of time, the constancy of change, the cyclic aspects of history and human experience, and the enduring, unbreakable connection between humans and the natural world — weave constantly through Martha Madigan’s commentary on her own work and working method, and make themselves apparent in the work itself. […] Martha Madigan has worked almost exclusively with the photogram for the past three decades, patiently building up an extensive, interconnected body of work that has evolved into one of the most coherent and durable considerations of the photogram in the medium’s history. […] I just don’t know what makes a picture, really — the thing that makes it is something unique, as far as I can understand. Just like one guy can write a sentence and it’s beautiful and another guy can write it and it’s dead. What that difference is, I don’t know. […] |
 SPJ Research Award 2014All content of this publication is © copyright 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017 by A. D. Coleman unless otherwise noted. All materials contained on this site are protected by United States copyright law and may not be reproduced for commercial purposes without prior written permission. All photos copyright by the individual photographers. "Fair use" allows quotation of excerpts of textual material from this site for educational and other noncommercial purposes.
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