Wednesday, May 20, 2015

Karoline Hjorth and Riitta Ikonen from their photo series Eyes As Big As Plates



Tuesday, May 19, 2015

Alexandra Anikeeva


Tuesday, January 27, 2015

Duane Michaels

"The best part of us is not what we see, it's what we feel. We are what we feel. We are not what we look at . . .. We're not our eyeballs, we're our mind. People believe their eyeballs and they're totally wrong . . .. That's why I consider most photographs extremely boring--just like Muzak, inoffensive, charming, another waterfall, another sunset. This time, colors have been added to protect the innocent. It's just boring. But that whole arena of one's experience--grief, loneliness--how do you photograph lust? I mean, how do you deal with these things? This is what you are, not what you see. It's all sitting up here. I could do all my work sitting in my room. I don't have to go anywhere"

I would take this a step further and say we're not our eyeballs, we're not our mind, we're our heart.




































Monday, April 8, 2013

Turned Away: A Closer Look at 'No-Kill'

Turned Away: A Closer Look at 'No-Kill': Video reveals the grim reality of limited-admission policies: Slamming the door in the faces of animals in need keeps intake and euthanasia statistics favorable but…

Thursday, March 28, 2013

Yes, I realize these are horrific and may be terribly upsetting...

Yes, I realize these are horrific and may be terribly upsetting...:



















Yes, I realize these are horrific and may be terribly upsetting (they are to me). There are also color photos which are much more graphic and which I could hardly bring myself to look at for longer than a second or two, let alone post (you can view them for yourselves on the artist’s website).
Nevertheless, it’s an important series. So here it is.
Sally Mann - What Remains (2003)
“Mann’s fifth book, What Remains, published in 2003, is based on the show of the same name at the Corcoran Gallery in Washington DC, and is in five parts. The first section contains photographs of the remains of Eva, her greyhound, after decomposition. The second part has the photographs of dead and decomposing bodies at the federal Forensic Anthropology Facility (known as the ‘Body Farm’). The third part details the site on her property where an armed escaped convict was killed. The fourth part is a study of the grounds of Antietam, the site of the bloodiest single day battle in American history during the Civil War. The last part is a study of close-ups of the faces of her children.Thus, this study of mortality, decay and death ends with hope and love.”

Andrei Tarkovsky - Instant Light (1979-82)From a series of 60...

Andrei Tarkovsky - Instant Light (1979-82)
From a series of 60...
:











Andrei Tarkovsky - Instant Light (1979-82)
From a series of 60 Polaroid photographs taken in Tarkovsky’s native Russia and in Italy, where he spent time in political exile.
“Tarkovsky often reflected on the way time flies and wanted to stop it… The melancholy of seeing things for the last time is the highly mysterious and poetic essence that these images leave with us. It is as though Andrei wanted to transmit his own enjoyment quickly to others. And they feel like a fond farewell.”

Thursday, November 1, 2012

Robert Herman: The New Yorkers

Robert Herman: The New Yorkers:








Brooklyn born photographer, Robert Herman began working as an usher at a movie theater owned
by his parents. The exposure to a wide range of films during his formative
years provided him with a unique vision: “Working for my father allowed me to
view the same movie repeatedly,” he recalls, “until the story line began to
recede and the images became independent of the narrative." 



Robert received a BFA in film making from the Tisch School of the Arts at New York University and received his Masters in Digital Photography from the School of Visual Arts in NYC.  Later as a production still photographer on
independent feature films, Herman discovered the life at the periphery of film
locations was more compelling than the film sets. His book of his NYC color street photographs, The New Yorkers, to be self-published in the fall of 2013 with help from a successful Kickstarter campaign. His is currently also working with Fractured Atlas to defray additional costs and accepting additional tax deductible donations.
His work is part of the permanent collections of the George
Eastman House and the Telfair Museum in Savannah, GA. His photographs are also
in many private collections and has exhibited across the United States including
the Museum of Modern Art, the galleries of the Savannah College of Art &
Design, The Los Angeles Center for Digital Art and The Henry Gregg Gallery in
DUMBO. This spring, photographs from The
New Yorkers
were included in a traveling exhibition that originated at the
Istanbul Photography Museum, and then moved to Ankara, Turkey with more venues
to be announced in the coming months.

The New Yorkers
New
York City is like a diamond mine. The pressure will turn one into coal dust or
a multi-faceted jewel. To survive with some sort of evolving grace, it is
absolutely essential to cultivate a Zen-like awareness. Consciously choosing to
be in a state of openness is also useful for making photographs. To paraphrase
the art critic John Berger: A photograph that surprises the photographer when
he makes it, in turn surprises the viewer. No matter how hardened and cynical
one becomes, the act of taking a picture, forces one to try to return to an
innocent wonder. Every time I go out to make photographs, I ask myself this
question: Can I see the world with vulnerability and clarity?














The
New Yorkers is a body of work that I began when I was still a student at NYU,
when I was learning to be a photographer. I was living in Little Italy at the
time and everyone around me seemed to be a subject: the man who changed tires,
the superintendent of the building next door.  I discovered Harry Callahan’s magnificent book: Color and
Robert Frank’s The Americans. These images opened my mind to what a strong
photograph could be. If imitation is the sincerest form of flattery, then this
was my starting point. Both of these photographers re-made the mundane, the
ordinary and the everyday and transformed them into small and transcendent
jewels.














Over
the years, I lived in several different apartments and I continued making pictures
in whatever neighborhood I happened to be living in. Becoming comfortable in my
new surroundings would ease the way for me to make the authentic photographs I
was seeking. Key to this body of work was letting the subject matter determine
the outcome. I would make myself available, allowing my intuition to be my guide
and let the content rise to the surface. The true epiphany was not to embellish
or to judge: with the removal of the internal impediment strong subject matter
would speak for itself. Like a man searching for water in the desert with a
dousing rod, I became a vessel and allowed the images to pass through me onto
the film.














As an illustration of this, “Eldorado” was made
on a day when I was sitting around my loft with my girl friend at the time when
suddenly I said, “ I’ll be right back, I have to go out and take some
pictures.” Ann nodded her ascent and with my Nikon F in hand, I walked around
the corner onto Mulberry Street.
In the bright afternoon sun two luxury cars were parked angling in from
the street towards a large green garage door. I chose my framing just as two
boys walked into the shot and I made my picture.  I was back at home five minutes later and knew I had captured
something truly special. I was at a loss to explain what had just happened. It
was truly a mystery. I realized that if I were wiling to relinquish some
control, I would occasionally be rewarded with strong photographs.
I went out to search for water
in order to survive, and I was led to something shining down from the sky
and bubbling
up from the ground.














There
is synchronicity and coincidence present everywhere. Photographs are a way of
revealing hidden relationships that are only present for a moment in space and
time, seen from a unique vantage point. The New Yorkers is the record of my
self-discovery as a photographer, inside and out, manifested on the streets of
New York City.






















Wednesday, October 24, 2012

Oysho

Oysho:
looking through online shop Oysho feels like floating on a cloud made of bunnies and kittens. their socks section alone made me aaaaaaw too much for my own good, not to mention those ridiculously cute animal blankets. but Oysho isn’t all puppies and rainbows – they also have delicate underthings & wonderful beachwear at really reasonable prices.