Henry Wessel Jr., Hollywood, Calif., 1972
May 29, 2012
May 29, 2012
Stephen Shore, 2nd Street East and South Main Street, Kalispell, Mont., Aug. 22, 1974
May 29, 2012
May 29, 2012
May 24, 2012
May 22, 2012
May 17, 2012
“Landscape and the West – Irony and Critique in New Topographic Photography” (2005)
Potential dissertation topic? Eh? EH?
May 4, 2012
April 7, 2012
“A Bouncing Ball in Diminishing Arcs,” 1958-61, Berenice Abbott
March 26, 2012
March 26, 2012
March 22, 2012
Walker Evans, Graffiti: Dead End, c. 1973-74
From the Getty Museum:
“After all, I am getting older, and I feel that nobody should touch a Polaroid until he’s over sixty,” remarked Walker Evans in an interview the year that he died. He was introduced to the instantaneous Polaroid SX-70 camera and color film in 1972 and used it for two years, primarily making portraits of colleagues, friends, and students. Eventually he made more than 2,400 Polaroid images.
In this photograph, Evans’s familiar love of signs and words is evident in the cryptic message “DEAD END” that has been spray-painted on a metal sign. It is uncanny as well as ironic, given that the Polaroid camera marked a new and fruitful path in Evans’s career.
March 22, 2012
March 22, 2012
Walker Evans, Torn Movie Poster, 1931
From the Metropolitan Museum:
Evans was fascinated by the vernacular language of signs-billboards, theater marquees, hand-painted storefronts, graffiti, and rusted tin roadside signs. As in this picture of a tattered movie poster, he often photographed these found artifacts head-on, so that the flat surface of the sign seems to occupy the same plane as the surface of the photographic image. Here, Evans’s careful cropping heightens the mystery of the original poster image by isolating the couple’s terror from its source and focusing our attention on the large rip that seems to slash through the woman’s head.
(via sfmoma)
March 22, 2012
Walker Evans, Untitled (Street Scene, Vicksburg, Mississippi), 1936
From the Heilbrunn Timeline of Art History:
In 1935 and 1936, Walker Evans traveled throughout the South, producing the extensive body of work that secured his reputation as America’s preeminent photographer. His principal subject was the vernacular: the indigenous expressions of a people found in roadside architecture, cheap cafés at lunch hour, advertisements, simple bedrooms, and small town main streets. Here, before a row of clapboard storefronts in Vicksburg, Mississippi, Evans focused on the barber shop, a salient detail of local street life. He saw the barber shop as a vital expression of the African American community, which, together with the church, nurtured the spirit of neighborhood and preserved folklore by facilitating the dispersion of local news and gossip. In this elegant portrait, the barbers await their loyal customers and sun themselves on a cold winter morning.
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Tim Burton should just make a movie called ‘Johnny Depp’.
plot twist: Johnny Depp is played by Helena Bonham Carter
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The Opry House - 1929
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Tim Walker Vogue US May 2012
Frida Gustavsson Mirte Maas Xiao Wen Ju Anais Pouliot
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Since feeling is first
who pays any attention
to the syntax of things
will never wholly kiss you;
wholly to be a fool
while Spring is in the world -
In Bloom
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“I want to tell you it’s not worth it.”
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That scene was a really, really tough scene to film. They didn’t tell me they were going to do this but Phil told Jon to hold on to my hand and...
