Ron Jude - Nausea - mackbooks
uncertainty of looking
philosophical inquiry might be filtered and consumed trought photographs.
the narrative limitations of photography and consciousness
mechanical medium does not allow significant scope for expressive or intentional qualities?
Dark Rooms - Nigel Shafran
Two Blue Buckets - Peter Fraser
Good luck with the future
Rita Puig-Serra & Dani Pujalte
The unsentimental approach that Dijkstra makes in her representation of maternity focuses on the impact of pregnancy and labour on the women, its legibility perhaps lost once the women have begun the recover.
These photographs visualize the profound shift in the women's changing relationships to their bodies and the instinctive protection they demonstrate towards their newborn babies, something we might never have observed without such a systematic and detached photographic style.
Sol descubrió que amaba todo aquello que contuviese un soplo de vida, por débil que fuera. Era grotesco - pensaba - aquel cariño súbito por el bosque de hojas húmedas, por aquel pobre perro aullante que seguía la vía del tren. Pero real y irremediable.
Pepa Prieto Puy
Yolanda - Ignacio Navas
Albrecht Durer Melencolia I
The reason for this conflict, although complex in its nature, is to do with difference. Rather than embracing what is unknown, American society has tended towards fear and rejection of it. But this is exactly what Beuys, a man who grew up in the surroundings of the Hitler Youth, the Berlin Wall, the Luftwaffe and World War II, was battling against. For him, art had the power to transform society. “Art alone makes life possible,” he once declared, taking a step on from the pure conceptualism of Marcel Duchamp. “Every man is an artist.”
stuff I like and that I don't want to forget
Bauhaus Archiv - Jasper Morrison exhibition
Hermann Claasen, Düren, Innenstadt, 1946
He experiments with the way we understand a subject because of our knowledge or expectation of how it is represented pictorially.
In the late 1970s, Ruff began photographing head-and-shoulder images of his friends, reminiscent
of passport photographs.
Ruff asked this subjects to look straight to the camera.
[...] the works' blank expressions and lack of visual triggers, such as gesture, confound our expectations of discovering a person's character through their appearance.
Yokomizo sent letters to the inhabitants of houses into which she could photograph from street level. She asked the strangers to stand in front of their windows at a certain time in the evening with the lights on and the curtains open.
We are looking at the strangers looking at themselves in these photograph, for the windows act as a mirror as they anticipate the moment they will be photographed.
Outtakes from the Life of a Happy Men
Intimate Life Photography
- it borrows and redirects the language of domestic photography and family snaps for public display.
- takes as its subject the non-events of daily life: sleeping, talking on the phone, travelling by car, being bored and uncommunicative
La cala encantada - Joaquim Mir
HELGA FANDERL <3 <3 <3 33 3 3< <33
Pareciera que para Helga Fanderl filmar y vivir son la misma cosa. Los cortes se harían entonces de acuerdo al ritmo de los latidos del corazón, cada movimiento de la cámara fluye con la respiración, y cada negro sería un parpadeo. Con un dominio absoluto de la herramienta, la cámara de super 8, y una compenetración con la misma casi sobrenatural, Helga Fanderl ha conseguido un corpus de películas tan delicadas como poderosas y emocionantes. Animales, reflejos en el agua, plantas y árboles, pequeños detalles captados al vuelo en la calle, amigos, actividades cotidianas: motivos sencillos que adquieren una belleza y un aura inefable, fruto de la observación atenta y la comunión con lo que le rodea. Películas espontáneas fruto de un saber ya instintivo, editadas en cámara, dispuestas en ramilletes a modo de sesiones que la misma cineasta compone. Un segundo montaje que dibuja ritmos y resonancias en cada sesión, y que convierten cada proyección en un evento único.
Fermin Jimenez Landa
Inspirado en el cuento de John Cheever y la película de Burt Lancaster, dibujé una linea recta perfecta de piscinas con la ayuda de Google Maps y un teléfono con GPS y crucé España nadando un río de piscinas desde Tarifa hasta la piscina de mis padres en Pamplona.
July 22-23, 1969 - Stephen Shore
To close our series ‘On Photography’, we are presenting this week Preston Bus Station by the great, young, influential British photographer Jamie Hawkesworth to coincide with the release of his first monograph Preston Bus Station — which was recently published by Dashwood Books.
The eight-minute film is an homage to the bus station where Hawkesworth shot a series of portraits of people passing through. He first took photographs there when he was only a student collaborating with his tutor. Together, they printed the portraits in a newspaper that one could flip through on a bus. This series would help lead Hawkesworth to the first jobs that started his career.
A few years later, when Hawkesworth heard that the bus station, characterized by its Brutalist architecture, was set to be demolished, he decided to return to Preston and spend a month documenting the people there. “It was never about the building, but the people inside it.” To complete the project, Hawkesworth wanted to record a living document of the place before its imminent (but later cancelled) demolition. He asked a youth brass orchestra to play a tune and walk in loops around the station. Hawkesworth places the camera in a low-angle as the young musicians pass in front of the camera, the sounds of their voices and instruments reverberating throughout the bus station. The result is melancholic and reverential.
“I’d like to think my aesthetic is a very honest one. An image works for me when I can feel the photographer’s presence and it feels authentic. Even if it’s the most contrived thing in the world, if there’s an honesty about that, it can still be fantastic.”
This new body of work dives deeper into the mysteries Älvdalen, further exploring the idea of myth, and the notion of photography as a visual dialect used to create our own folklore. Here too sound is important; the fable of language used to translate the then to the now, from myth to some form of spoken reality. “Oral traditions exist around the myth, but myths exist within the boundaries of the unspoken,” Maja says. “It is open to interpretation but it refuses to be fully locked down or understood. It is in some ways resisting. The core of what is expressed in an image lies somewhere in the unseen, in the shadows or between the images, in their silent associations.”
HELLEN VAN MEENE
Vivianne Sassen - Parasomnia
The girl chewing gum
TTP Hayahisu Tomiyasu
Speaking of Scars - Teresa Eng
Dad's stick - John Smith
The Kiss - John Smith
Barbara Probst <3 <3
The Kiss - John Smith
Florian van roekel - le college
Richard Billingham - Ray's a laugh
Verde, Alessandra Tesi
Jemima Stehli - Strip (2000)
Jardin - Massao Mascaro
Anna Izquierdo Gilabert