Anthony Merino

A single passage from Rand’s book The Anthem, articulates how alien her ideas are to American Democracy. She states:
I am done with the monster of "We," the word of serfdom, of plunder, of misery, falsehood and shame.

And now I see the face of god, and I raise this god over the earth, this god whom men have sought since men came into being, this god who will grant them joy and peace and pride.

This god, this one word:

"I.”
There is no way to reconcile Rand’s plea of government of the person, by the person for the person with Lincoln’s government “of the people, by the people and for the people.

WATCH: Why You Should Watch HBO's Larry Kramer in Love & Anger Tonight
In this new documentary, the co-founder of GMHC and ACT UP remains uncompromising, unapologetic, and flawed, but also empathetic and incredibly persuasive.

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Tony Merino recibió su MFA (Maestría en Bellas Artes) en la Universidad de North Texas en 1992. Además de impartir clases ha desarrollado una intensa labor como comisario de exposiciones, dictando conferencias e impartiendo cursos, además de desarrollar su labor como ceramista.

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Se prohíbe el uso o reproducción del texto, que se publica en Infoceramica con permiso del autor. Las fotos han sido enviadas por el Independent Art Project de North Adams, Massachusetts, a quien agradecemos su colaboración. Este artículo se publica exclusivamente para la promoción de la exposición y la obra del artista, queda prohibida su reproducción sin permiso expreso del autor.

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Kageyama Kōyō (1907-1981) photographed people in Tokyo, Japan during the Shōwa imperial period (1926–1989). This tumultuous time in the country’s history spans 1923′s Great Kantō Earthquake, a depression, rapid militarization, near annihilation during World War II, and the challenges and triumphs generated by the prosperity of the post-war period. Kōyō succeeds at doing more than documenting the lives lived in a distinctive time and place. At their best, his photographs mingle the lyrical and the gritty, the imagined and the reportorial, the detached and the didactic