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So there's really hope for Arc to be finished in his life time, now!
“What the white whale was to Ahab, has been hinted; what, at times, he was to me, as yet remains unsaid,” writes Herman Melville in Chapter 42 of his classic novel Moby-Dick.
To make work here, and not take that into account seems to me to be plainly ridiculous, and it makes you part of the problem…” Juxtaposed with Graham’s appropriation of Melville's text, asserting the horrible audacity of white, from its holy innocence to its role in purifying even evil, the book becomes a lambasting against being white in today’s culture.
In this context, his photography does more than question or explore the issue of social inequality, it takes sides, and issues an accusation.
Serving as bookends to these three series are written works, including a new essay by David Chandler, the aforementioned eponymous chapter from Moby Dick, and another essay by Stanley Wolukau-Wanambwa.
In short, there’s a lot to absorb in the book, and the author makes abundantly clear the literary ambitions at the heart of the photographic series, and their combination. Urban landscapes, overexposed nearly to the point of illegibility, show wide scenes of a distant person standing, walking or waiting in ugly parking lots or roadside sidewalks.
It’s in these two series that the accusation against being white seems visually less specific: Graham shows us that there are also poor white people (of course) but there are also scenes of the sun setting over a petrol station, something seemingly untied to societal injustice or racial identity.
Viewing the three series overall then, it may seem more appropriate to focus on the hunt for the whale, rather than the whiteness of the whale.
For instance, across nine images, we see a man mowing a large lawn.
He travels backwards and forwards several times, making progress.