In episode 7 of 'Thought Pieces,' Collier Schorr and Angel Zinovieff give an intimate reading of 'Notes on Tricks,' an explores the roles we inhabit as the photographer and the photographed, drawing on themes of closeness, sexuality, and the rescued relics of our childhoods. 

About 'Paul's Book' by Collier Schorr

Collier Schorr met Paul Hameline, a young French artist and model, in New York in 2015, when they began to meet to make a project that lasted two years in which Collier would visit Paul at his parents’ house and take pictures and talk. The idea was for Paul and Collier to experience photography as a social space, a conversation in which his body and her eyes could try and understand each other’s fascinations and fantasies. Paul’s Book expands that magazine story to form a larger piece about the way in which a photographer and model can search for some greater revelations with the simplest movements and various states of undress.

In Ep.6 of Thought Pieces, writer, editor and curator Lou Stoppard discusses the incredible – and much overlooked – work of Shirley Baker, considering her place in the male-dominated history of photography, together with the compassionate and attentive ways in which she captured everyday life in Salford, London and beyond. 

In Ep.5 of 'Thought Pieces' Ben Lerner reads his expansive prose poems from his new book ‘Gold Custody,’ which take us on a perambulatory journey through time, personal mythologies and the unraveling of the mysterious languages we inherit.

About 'Gold Custody' by Barbara Bloom and Ben Lerner

What happens to an image or a phrase when it is reencountered, recontextualized, recombined — when a particular frame of reference is established or collapses? This collaborative book pursues these questions through artworks by Barbara Bloom and prose poems by Ben Lerner (10:04, The Topeka School), which veer between the promises of abstraction and languages of extreme privacy, as well as false fathers, lice, stone fruit, Casper Rappaport, color words, alephs, forever stamps, and Goethe’s corridor.

In Ep.4, writer Lynne Tillman uncovers the hidden histories of childhood, the relentless passing of time, and a very particular vision the misspent American youth of a boy named Roy.

In Ep.3 of ’Thought Pieces,’ Paul Graham looks back on his 1980s work based in unemployment offices across the UK, reflecting on the role of social care, Thatcher’s government, and the changing status of documentary photography in the public imagination.

In Ep.2 of ’Thought Pieces' filmmaker, writer and photographer RaMell Ross reads ‘Renew the Encounter,’ from the book ‘But Still it Turns,’ edited by Paul Graham. Part meditation and part manifesto, Ross invites us to deconstruct our relationship to photography and race through dazzling, urgent prose. This essay was originally published in Film Quarterly.

About 'But Still, It Turns'

'But Still, It Turns' is Paul Graham's revitalising manifesto for photography from the world – a re-dedication to the tangle of reality. In this dynamic and diverse book, Graham curates 8 photographers' work: Vanessa Winship, Stanley Wolukau-Wanambwa, RaMell Ross, Kristine Potter, Curran Hatleberg, Piergiorgio Casotti & Emanuele Brutti, Gregory Halpern and Richard Choi, together with essays by Graham, Rebecca Bengal and Ian Penman, all of which tease out a new, enlightening post-documentary form for photography.

In the first of this brand new podcast from MACK, poet Eileen Myles reads their essay 'Vanishing,' which was published in 'The Shabbiness of Beauty' by Moyra Davey and Peter Hujar. Having pasted photographs by Davey and Hujar on the walls of their New York City apartment, Myles begins an exploratory piece that spans the unrelenting passing of time, the remarkable visual dialogue between these two artists and their shared visual language. 

About 'The Shabbiness of Beauty'
'The Shabbiness of Beauty' is a visual dialogue that crosses generational divides with the easy intimacy of a late-night phone call, with little-known, scarcely seen images from Peter Hujar's archives set in dialogue with Moyra Davey's own photographs, forming a visual exploration of physicality and sexuality that crackles with wit, tenderness, and perspicacity.