_ Victoria Z. Alexander Sayı 181, Kasım 2008

Her second book of images Still: Oceanscapes presents a series of 60 images of the ocean (and sky) taken from one vantage point across a span of seven years (2000-2007). The collection possesses a deeply contemplative and often painterly quality. The images are made both for the artist herself ["my photographs have always been for myself and my work sustains me"] and an audience. They record a relationship between the inner world of an artist and one fixed point in her outer world. We can share these images to the extent that we can replace her inner world with our own in relation to the sea and sky and the place where they meet. As with Rothko's later canvases, while these photographs will never mean to us what they do to their maker, the meeting of inner and outer worlds is otherworldly (see especially images 7, 9-10, 22-25, and 46). This effect is only enhanced by the fact that the images are taken in the crepuscular period from just before sunset until just after sunrise. Bloomfield's photographs are the record of many lonely night observances during which she attempted to understand her own creative process: "My art is how I process my life" (130).



_ Victoria Z. Alexander Sayı 137, Nisan 2007

From the standpoint of reason, the world is a great disappointment. In its details, however, and caught by surprise, the world always has a stunning clarity. “World” is a term that, by my estimation, appears more often than any other in Baudrillard’s writing. Like many of you I loved the writing and photography of Jean Baudrillard and I shall no doubt miss them very deeply as the years pass and they cease to arrive. I will allow others to eulogize Jean and write his obituaries. In place of an obituary this paper begins to fathom the world, Baudrillard’s “world”, after Baudrillard. I want to go on living in Baudrillard’s “world” – but I am uncertain as to the possibility of anything like the world as we knew it with him. Does the passing of Baudrillard also mark the end of the “world”?


The Persistence of the Architectural Ideas of Louis I. Kahn

_ Victoria Z. Alexander Sayı 263, Haziran 2014

Louis I. Kahn was one of the most important brakes on the International Style of modernism in the middle years of the twentieth century. Against this architecture of speed Kahn addressed the slower side of modernity and without him we might well have missed something vital. The intelligence of Kahn’s architecture, itself a treasure trove of historical forms, has survived into our posthistorical age of speed – which is now the age of the screen (Virilio). While architecture has pressed on into an era of new materials, forms, and seemingly unprecedented possibility, many architects have not forgotten the more significant architectural lessons of Kahn. I do not wish to imply that Kahn is the sole influence on the architects and buildings which follow, but he remains a vital one. Many buildings erected in recent years flow through a similar river of ideas as those which passed through Kahn and many of his buildings.