Taking pictures is like tiptoeing into the kitchen late at night and stealing Oreo cookies.Diane Arbus (via Hey, Hot Shot!)
Notes & Links
on
art, design, creativity and technology
on
photography
Contact Me
What’s great about looking at your work is the emotion comes back. The emotion comes back. The rhythm of what you were photographing comes back. It’s almost like a musical score. You can see where I may have quit too soon, or stayed too long. Or was bored and took a lot of pictures of nothing because I wanted to put film through the camera. All kinds of things are working when you’re looking at the contact sheet. Also, you see old girlfriends and friends and your children going up and my hairline receding.Bruce Davidson, in an interview with the New York Times
I make thought-webs on my iPad because I am FROM THE FUTURE. But, seriously, I’m in the process of writing something that includes all of these words:
Time, History, Documentation, Function, Self-consciousness, Paranoia, Terror, Media, Technology, Ubiquity, Public/Private, Distribution, Sharing, Facebook, Internet, Shoebox, Media, Dreaded Vacation Slideshow, Books, Photography has changed, We have changed.
…and maybe a few more.
If there wasn’t a pesky rule that people who work at JBP can’t enter our own competitions to win our awesome prizes, I would almost certainly be entering Hey, Hot Shot! by the end of today so that I could have my work reviewed by Esopus editor Tod Lippy, and be in the running for a lifetime subscription their magazine, $5000 in cash, and gallery representation. Esopus is beautiful.
It’s impossible to understand just how much fun Esopus has designing + printing each issue without picking up a copy for yourself. The next best thing is watching this flipthrough video. Nearly every project features unique paper, foldouts, perforations, or posters.
Did we mention that if you apply to Hey, Hot Shot! by TODAY, Editor-in-Chief Tod Lippy will review your photographs and possibly award you a lifetime subscription. Life. Time.
Zoe Strauss has launched a new blog, On The Beach, devoted to her photos of the oil spill. You can read more about the project on the 20x200 blog, donate some money to Zoe, and see how many gallons have been spilled so far (in numbers).
New York, 1997, by Philip-Lorca Dicorcia
While people may be the main subject of these pictures, it’s the lighting that keeps you entranced. Sun shines in most of them, but the shadows seldom correspond to its position. Electronic flash illumination provides the unexpected shadows as well as unexpected highlights. By hanging his flash lights on lamp poles and street signs, hidden high and outside the field of view, diCorcia ensures that his relation to the subject is indirect. He sets up his camera nearby and waits for his unsuspecting actors to perform. Few of his principal subjects seem aware that they are the centers of lenticular attention, which then serves to deflect the viewer’s awareness of the photographer’s presence. As a result, we are left with images that draw attention to themselves but not their maker.
Andy Grundberg for ArtForum, February 1999
(via American Suburb X)
MoMA’s Eva Respini on Nan Goldin’s “The Ballad of Sexual Dependency”:
Sometimes, after I encounter a great work of art, I feel like I’ve been punched in the gut. And that’s a good thing—the work touches and evokes something deep inside that lingers for months, even years. I had this experience when I first saw Nan Goldin’s The Ballad of Sexual Dependency, a 45-minute slide show of some 700 color pictures set to a soundtrack.
(via curatorialisms)
6097 from A Road Divided by Todd Hido
Todd Hido (the Todd Hido) will be releasing an edition on 20x200 next week. Be ready.
(via jenbekmanprojects)
Earth from Mars.
This is the first image ever taken of Earth from the surface of a planet beyond the Moon. It was taken (on March 8, 2004) by the Mars Exploration Rover Spirit one hour before sunrise on the 63rd Martian day, or sol, of its mission.
(via Coudal)