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. […]
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When we started out [in 1968], there was a hundred and thirty years of material by people who had something to say whom no one had listened to. Part of the excitement of photography is that hundred and forty years. I think if you isolate the last five years of photography and look at what’s been done, it’s not that much more exciting than what’s been done in painting or any other field. […] The constraint of time imposed by the self-imposed necessity of finishing the book on the same day makes it impossible to look too deeply into the images or second-guess my choices. I also have no time to bring anyone else into the selection or sequencing process. The first opportunity I have to study the details in the images is after I receive the first printed copy of the book in the mail. In every case I have been delighted by aspects of the images or coincidental relationships that I never observed at the time the exposures were made, nor even when I assembled the book. […] |
 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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