Issue 4 is packed full of interesting content in keeping with Fantom’s approach to contemporary photography and its tangential practices. In many ways this issue sees the magazine homing in on more traditional photography or, rather, the practices of artists whose work has always been embraced by the ‘fine art photography’ scene rather than the more hybrid arenas of the contemporary art world. Franceso Zanot’s interview with Olivo Barbieri accompanied by images from his ‘Flippers’ series from the late 1970’s is a good example. Barbieri’s images that zoom in on pinball machines and photograph their battered surfaces in a way that produces something akin to popish readymade collages or paintings. If produced by a younger artist, they might have entirely bypassed the theoretical discussions that informed Barbieri’s generation. And, in this and other articles in this issue, Fantom indirectly reminds us of some of the journeys that photography itself has made within overall landscape of the arts. Perhaps the most noticeable feature in this issue is the extensive article – the second in a series – mapping Milan’s new art and creative scene through a collaborative project.The article on American artist Hank Willis Thomas also demands attention. It focuses on his series of works in which he has systematically removed all logos, branding and identifying text from a series of print advertisements produced between 1968 and 2008 featuring African-American models. Interrogating exactly how and what images of identity are used to sell, they are a fine example of the title’s particular interest in the breadth of roles that the photographic image plays in contemporary societies. |
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