Filed under: Photography
Anteroom (Winterscape in Room), 2007
lightjet print, edition of 5, 24″ x 36″
Robert Frank (American, b. Switzerland, 1924)
Trolley—New Orleans, 1955
Gelatin silver print; 8 5/8 x 13 1/16 in. (21.9 x 33.2 cm)
The Metropolitan Museum of Art, New York, Gilman Collection, Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005 (2005.100.454)
Photograph © Robert Frank, from The Americans
Minor White
Cobblestone House, Avon, NY
Vintage Gelatin Silver Print, 1957
7 1/4 x 9 1/4″
No matter how slow the film, Spirit always stands still long enough for the photographer It has chosen. – Minor White
Filed under: Photography
Joseph Stalin “When all you see is a picture, Stalin could’ve been anyone’s kind grandfather. You can’t see the millions of people on his conscience or what a paranoid, dreadful human being he was.”
Nina Maria Kleivan’s provocative images of a baby dressed up as various famous dictators – including Hitler, Stalin and Mao – have caused something of a stir. As Kleivan says: “We are all born as a blank slate. Who knows who we will become?”
Joseph Nicéphore Niépce.
View from the Window at Le Gras.
ca1826.
Heliograph, in original frame.
25.8 x 29.0 cm.
Harry Ransom Center
University of Texas at Austin
Long before the first public announcements of photographic processes in 1839, Joseph Nicéphore Niépce, a scientifically-minded gentleman living on his country estate near Chalon-sur-Saône, France, began experimenting with photography. Fascinated with the craze for the newly-invented art of lithography which swept over France in 1813, he began his initial experiments by 1816. Unable to draw well, Niépce first placed engravings, made transparent, onto engraving stones or glass plates coated with a light-sensitive varnish of his own composition. These experiments, together with his application of the then-popular optical instrument, the camera obscura, would eventually lead him to the invention of the new medium.
Statement Excerpt:
… Conflicts between reason and belief are n ot new but never have they been held in such dramatic constrast as they have in the genomic age. The situation, such as it is, provides fertile ground for the artist and it is why I pursue the project with such urgency.
The entry point into my work is the idea of optical illusion as metaphor. I produce a different type of conceptual still life – one in the manner of a science demonstration or imaginary physics experiment. To accomplish this ….
For More Images and Full Statement:
http://www.chervinsky.org/angleofrepose.html
Double Exposure
A Moment With Diane Arbus Created A Lasting Impression
By David Segal
Washington Post Staff Writer
Thursday, May 12, 2005; Page C01
NEW YORK They remember none of it. Not the lady with the camera, arranging them by a wall at the Knights of Columbus hall in their home town of Roselle, N.J. Not the chocolate cake they had just finished, which is very faintly visible in the picture at the creases of their lips. The Wade sisters, as they were known before they each married, recall nothing about the day they gazed into the lens of Diane Arbus and became part of American photographic history. Unless you count the dresses.
“We still have them,” says Colleen.
“Our mother made them,” says Cathleen. “They look black in the photograph but they’re actually green.”
They were 7 years old in 1967, when Arbus found the girls at a Christmas party for local twins and triplets. Nobody is quite sure how Arbus heard about the gathering, but a few parents obliged when she asked their children to pose. Which is how the Wade sisters wound up on a sidewalk, standing close enough to seem joined at the shoulder, their expression a kind of spectral blank.
The remainder of the article can be found here:
http://www.washingtonpost.com/wp-dyn/content/article/2005/05/11/AR2005051102052.html
Filed under: Photography
Toyota # 15, 2005
40 x 50″ C-print
Filed under: Photography
After ‘Invisible Man’ by Ralph Ellison, the Prologue 1999–2000
Transparency in lightbox 1740 x 2505 mm
99 cent. 1999
Andreas Gursky. Chromogenic color print.
6′ 9 1/2″ x 11′ (207 x 337 cm)
©2001 Andreas Gursky.
Gursky’s 99 cent. 1999 sold at Sotheby’s for $2.2 Million in spring 2006.
Source: Art in America Gallery Guide
Filed under: Photography
One and Three Chairs, 1965. Wood folding chair, mounted photograph of a chair, and photographic enlargement of a dictionary definition of “chair”, Chair 32 3/8 x 14 7/8 x 20 7/8″, photographic panel 36 x 24 1/8″, text panel 24 x 24 1/8″. © Joseph Kosuth
Filed under: Photography
Yonge St., Willowdale #4 © Robin Collyer
Retouched colour photograph, 1995
Measurements: 20 x 24 in.; 50.8 x 61.0 cm
Drugstore ©Robin Collyer
Retouched colour photograph, 1996
Measurements: 20 x 24 in.; 50.8 x 61.0 cm
Other information: Series of 5. Courtesy of Susan Hobbs Gallery, Toronto.
Robin Collyer was born in London, England in 1949.
He currently lives and works in Toronto.
Filed under: Photography
‘My Mother Posing for Me’, 1984; Larry Sultan’s parents were the subject of his ‘Pictures from Home’ series, first published in 1992. Sultan was moved to begin the project after his father, Irving, was forced into early retirement from his career with the Schick Safety Razor Company
Larry Sultan: The king of colour photography
Uncanny and tender, Larry Sultan’s work captures suburban West Coast America – from the green lawns of Palm Springs to San Fernando Valley’s porn-film industry
By Michael Collins
Saturday, 7 August 2010
Photography tends to deliver an exaggerated account, revealing the familiar with an unfamiliar and unsettling degree of detail – like the experience of listening to a recording of your own voice. When the late American photographer Larry Sultan made a series of pictures of his parents in their home, he was presented not only with the distortions made through the camera lens, but by his lens onto their life, too.
Filed under: Photography
Adolf the Superman Swallows Gold and Spouts Junk, 17 July 1932
Image Credit: © Sarah Stonefoot
The botanical objects I have brought into the home are stopped in transformation. Their location is often questionable and their capacity for self-motivation is ambiguous. Fluent in a secret language that’s rich in mythic rawness, they crawl, branch, sprout and mimic their surroundings. Domesticated and anthropomorphized, leaves and seeds obtain a poetic vitality through their relationship to the home – a space that welcomes imaginative rediscovery.
Given my desire to experience nature firsthand, I prepare for each photograph with a sensory exploration. It is only after I have altered the botanical material, pulled it apart and stripped leaves from its stem, that I can find in nature something new, something different and something unexpected. As Pierre Mabille notes in The Mirror of the Marvelous, “Alice’s adventures in the rabbit burrow or through the mantelpiece mirror encourage us to search for other gaps where we can penetrate the marvelous.” Like Alice, I’m hoping to find my portal into reverie.
We shelter ourselves both with and from nature but we are still part of its world. Within the home sunlight serves as a constant reminder of nature’s transience. Its luminous, shimmering and prismatic effects readily trigger the thoughts and daydreams of quiet rooms. The home is an unbounded interior; within its walls one’s mind can drift and worlds can arise. Leaves, seeds and buds I use become swarms and armies descending upon furniture. They respond to and are altered by the home’s architecture and its resident. Reclaiming their space, the natural objects remind the furniture of the life it once held. With newly acquired botanical inhabitants the home transforms into a landscape. Curtains are large open skies and the seat of a chair is an open field. These invitations to reverie are most welcome in the space of the photograph – an ideal place for the construction of new worlds. – Sarah Stonefoot
© Stephanie Lempert
Language of Space Series, Forsythe and Grand,
December 18, 2006, 2:10pm-2:40pm
Archival Inkjet Print, 30” x 20”; 2007
Conversation surrounds us as we travel through this city. The Language of Space Series is a series of photographs illustrating the conversations being spoken in different areas of New York. I photographed a location and recorded the conversations being spoken in that area during a certain amount of time. I then transcribed these spoken words and extracted the text from the photograph. The remaining image allows you to see the space and read parts of the conversations spoken within the space.
detail
SeoWoo and Her Pink Things, 2006. Image Credit: © Jeongmee Yoon
This project began with my daughter. My seven-year-old daughter loves pink. She wants to wear only pink clothes and only own pink toys and objects. My daughter is not unusual. Most other little girls in the United States and South Korea love pink clothing, accessories and toys. This phenomenon seems widespread among various ethnic groups of children regardless of their cultural backgrounds. This preference is the result of cultural influences and the power of pervasive commercial advertisements such as those for Barbie and Hello Kitty. Through advertising, customers are directed to buy blue items for boys and pink for girls. Blue has become a symbol of strength and masculinity, while pink symbolizes sweetness and femininity.
Ethan and His Blue Things, 2006 . Image Credit: © Jeongmee Yoon
To make The Pink and Blue Project series, I visited children’s rooms, where I displayed their possessions in an effort to show the viewer the extent to which children and their parents, knowingly or unknowing, are influenced by advertising and popular culture.
CRITICAL MASS TOP 50, 2007 – Jeongmee Yoon
Filed under: Photography
Vietcong Execution, Saigon, 1968
“No war was ever photographed the way Vietnam was, and no war will ever be photographed again the way Vietnam was photographed,” he says. There was no censorship. All a photographer had to do, says Buell, “is convince a helicopter pilot to let him get on board a chopper going out to a battle scene. So photographers had incredible access, which you don’t get anymore.”
Filed under: Photography
Lewis Hine. Ten-Year-Old Spinner, North Carolina Cotton Mill, 1908 – 09.
Gelatin Silver Print
Filed under: Photography
Jacob Riis. The Man Slept in This Cellar for About 4 Years, c. 1890
Gelatin Silver Print.
