More on: Caravaggio

Later on, in high school, I would see those same artworks in my books and listen to my professor explaining their importance. Probably because they were within a five-minute walk and I knew them by heart, I didn’t have any real interest in them, nor in any of what Pasolini would call “my intimate, profound, archaic Catholicism.” I was interested in Hegel.

What I lost in my exit from a fundamentalist faith movement, I found inside the closed chamber of my camera.

The man I imagine walking to Emmaus is the one I saw in Caravaggio’s flesh-and-bone depiction of Christ beckoning the taxman to his side, steady arm outstretched, pointing a finger at the table of cardsharps. It’s a gesture that’s the same in every language and seems to say there’s no time to wait for those…

IT WAS THE FIRST FULL DAY of the fall semester at the New York Academy of Art, and California artist Noah Buchanan was riding the Number 2 subway to lower Manhattan’s Tribeca district where he would disembark five blocks south of the school. The Brazilian beat of Paul Simon’s Rhythm of the Saints thrummed on…