Press

By Betsy Horan

"Though the photographs in Huger Foote’s series “Now Here Then” were taken largely between 1995 and 2002, they represent an entirely “new” body of work. Starting in 2008, the Memphis-born photographer took a three-year “semi-stationary” break from his normally nomadic lifestyle, and spent the time revisiting his past work — and specifically, the work prints he’d created from years’ worth of negatives. For photographers, work prints are meant to be provisional: temporary placeholders for the final, perfect exhibition prints. They show thescars of time — which was precisely what caused Foote to have the “a-ha” moment that...

By Ashleigh Kane

"Photographer Ren Hang’s affinity with nature and the nude form continues in his latest book Athens Love. Continuing to produce work outside of his native home of China, where he is often censored or in trouble with police who threaten to arrest him, for his latest book Hang trips to Attica and Athens in Greece. While his last book NEW LOVE was shot in New York, here Hang swaps skylines and cityscapes to shoot his friends gazing into glistening lakes, obscured between rocks, swamped by daffodils or amongst cactus and aloe vera plants..."

By Jean-Paul Gavard-Perret

"Le monde de Huger Foote est un monde où tout chaloupe. Fureteur, le photographe retient ce qui n’intéresse personne. Il déambule dans divers lieux grevés de traces et de résidus : fruits jetés, traces de pneu dans un cloaque, herbes folles, parpaings, tréteaux, tuyaux etc. Tout cela crée un kiosque étrange que l’artiste réunit dans ses albums d’images. Aux cités impériales l’artiste préfère les zones moins fastes, brillantes ou touristiques. Il aime les moments ou les lieux en creux là où commence ou finit un monde. Pour en suggérer l’éphémère la photographe  froisse ou lacère au besoin ses photos..."

By Robert Dunn

"With the photos in Huger Foote’s brilliant new book, Now Here Then, the passing—no, the inescapable effects, the ravages—of time is central to the meaning of the book. These thirty-six photos were taken decades ago, initially shot with a sense of serendipity, of letting fate help Foote capture the strongest images possible; then time stepped in, the prints messed-up back then while being edited, tossed into drawers, nearly forgotten, then pulled forth three years ago and carefully turned into the stirring work under review here."