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9788862086783

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There are a lot of regimented grids in the book, though these are often out of whack, or they're details of something that you can't quite work out, that you think is something different. On more than one occasion, you find yourself turning your head, wondering: What IS that?, until you see. Photographs are laid out to play off each other, with one almost chatting to its facing companion.--Miranda Sawyer Guardian [Our Interference Times] addresses [Stipe's] anxiety that digital technology is eroding people's association with the analog world and driving a wedge between humanity and nature, between young and old.--Nick Fulton Garage Stipe... has trained his eye on places where the analog and the digital intersect to form the pattern of the current moment.--Jameson Fitzpatrick New York Times: T Magazine

...this experimental book draws from Stipe's personal images and photography to explore the intersection between what the authors describe as the analog and the digital. It's an abstract concept illustrated through pixelated images, moire patterns, and screenshots.-- New York Magazine: Strategist [Our Interference Times] addresses [Stipe's] anxiety that digital technology is eroding people's association with the analog world and driving a wedge between humanity and nature, between young and old.--Nick Fulton Garage Stipe... has trained his eye on places where the analog and the digital intersect to form the pattern of the current moment.--Jameson Fitzpatrick New York Times: T Magazine Stipe's new photography book, Our Interference Times: A Visual Record... is scattered, with photographs of things too diffuse to be circumscribed. But it follows a sequence, and storylines of a sort start to coalesce after you flip through a few times--even if still more than a little elusively.--Andy Battaglia ARTnews The book offers a smattering of mostly unresolved shots, including pixelated pictures of old prints, phone snapshots of architectural oddities and studio assemblages, plus video stills and computer-rendered portraits. Although it is a disparate group of subjects, pattern do emerge.-- Artnet There are a lot of regimented grids in the book, though these are often out of whack, or they're details of something that you can't quite work out, that you think is something different. On more than one occasion, you find yourself turning your head, wondering: What IS that?, until you see. Photographs are laid out to play off each other, with one almost chatting to its facing companion.--Miranda Sawyer Guardian

Author Information

As an undergraduate studio art major at the University of Georgia, Michael Stipe (born 1960) studied photography and painting before leaving school upon the formation of R.E.M., the band for which he served as frontman and singer/songwriter until its dissolution in 2011. The sensibility that he began to develop during his time as an art student transferred to the spectrum of his work for R.E.M., from art directing all graphic, video and stage design, to writing, composing and performance, and his iconoclastic personal style. Stipe's visibility as a media figure in the popular culture of the 1980s and '90s left an indelible mark on the aesthetic trends of the time, many of which have trickled down to contemporary culture.

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