"These images are curated, and I hope it’s very apparent that that is the case. I really did treat the press negatives like my own, which is to say that while they depict a real moment and real histories, they are very much part of my agenda and my fiction. There are facts in the photographs, but they must be teased out of the greater fiction. In the Copia work and this archive work, I use the fact that we have a difficult time in separating those two from each other to give the pictures more veracity. One of the great strengths of the photographic image is that people want to believe it, so therein lies the refashioning and co-opting. (…)

What started as such a little curiosity has taken me on a long journey of investigation. There are always times when I step back and reconsider whether I’m done with this subject, or I should say done with using consumer culture as indicative of larger political, economic and social issues. Yet I simply continue to find so much more to explore, and the topic is so overarching that it continues to demand attention. What’s invigorating is when it pulls me far outside of what I would normally define as my artistic practice. I wasn’t much of a collector until the ideas in the work pointed me down that road. As a result, now the Copia project has a prequel per se, and this also is big and vast and should be comprehensive.

— from Close Out: a conversation with Brian Ulrich, just published at thegreatleapsideways.com

@1 year ago with 101 notes
#Photography #Brian Ulrich #Documentary photography #Consumerism #Economics #Politics #Archival photography #Found photography #Street photography #Vivian Maier #Joel Sternfeld #Robert Adams #The Great Leap Sideways #Vernacular photography 
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