Pink Floyd, Echoes Part 1 Live at Pompeii
Just a little homage for your mid-week
A Fashion Designer’s Second Act
The former designer of Dior Homme now takes portraits of up-and-coming artists.
A.O. Scott Reviews Sam Peckinpah’s The Wild Bunch (1969)
Strap yourself in for a long wild slow motion gore-fest
Operation Ivy, The Crowd June 24th, 1988
Symbiopsychotaxiplasm, directed William Greaves
Criterion Collection #360
This is a MUST see if I do say so myself. It is on HuluPlus which may have a trial membership right now for .edu emails.
from the criterion collection site:
SYNOPSIS: In his one-of-a-kind fiction/documentary hybridSymbiopsychotaxiplasm Take One, director William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies.
Ian Bogost, short talk from the Third Object-Oriented Ontology Symposium (Sept 14, The New School), on the photography of Garry Winogrand.
Paul Graham gave us this to chew on.
Image Jacques Henri Lartigue
A discussion going on at the Little Brown Mushroom Blog.
“The best creative years for a photographer, I’d proclaim, are 20 to 40, but the peak is 25 to 35. Of course I’d mention the exceptions, but taken as a whole, photographic greatness seems to me to be a young person’s game.” -Alec Soth
Damn, I had better get to work…..
Jay-Z’s blog showin out for Richard Prince. Maybe Hova would sit in on the panel?!?
I just don’t know what to do tonight,
My head is aching as I drink and breathe
Memory falls like cream in my bones, moving on my own.
There must be something I can dream tonight,
Patti Smith, poet, musician, author, photographer, in Paris, late June.
Image © Anton Corbijn
Sentences on Photography by Torbjorn Rodland
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The muteness of a photograph matters as much as its ability to speak.
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The juxtaposition of photographs matters as much as the muteness of each.
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All photography flattens. Objectification is inescapable.
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Photography cannot secure the integrity of its subject any more than it can satisfy the need to touch or taste.
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Good ideas are easily bungled.
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Banal ideas can be rescued by personal investment and beautiful execution.
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Lacking an appealing surface, a photograph should depict surfaces appealingly.
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A photograph that refuses to market anything but its own complexities is perverse. Perversion is bliss.
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A backlit object is a pregnant object.
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To disregard symbols is to disregard a part of human perception.
11. Photography may employ tools and characteristics of reportage without being reportage.
12. The only photojournalistic images that remain interesting are the ones that produce or evoke myths.
13. A photographer in doubt will get better results than a photographer caught up in the freedom of irony.
14. The aestheticizing eye is a distant eye. The melancholic eye is a distant eye. The ironic eye is a distant eye.
15. One challenge in photography is to outdistance distance. Immersion is key.
16. Irony may be applied in homeopathic doses.
17. A lyrical photograph should be aware of its absurdity. Lyricism grows from awareness.
18. For the photographer, everyone and everything is a model, including the photograph itself.
19. The photography characterized by these sentences is informed by conceptual art.
20. The photography characterized by these sentences is not conceptual photography.
Garry Winogrand “I don’t Give a Rap about Gasoline Stations” by Gerry Badger
Garry Winogrand: … I forgot what year when Robert Franks book came out. He was working pretty much around that time, 55 or whenever it was. And there were photographs in there, particularly that gas station photograph, that I learned an immense amount from …’
Student: ‘What you’re responding to, is it the quality of the intelligence that states the problem?
Garry Winogrand: ‘Yeah, I don’t give a rap about gasoline stations …
‘… the decision is to encourage the psychopath in oneself, to explore the domain of experience where security is boredom and therefore sickness, and one exists in the present, in that enormous present which is without past or future, memory or planned intention, the life where a man must go until he is beat, where he must gamble with his energies through all those small or large crises of courage and unforseen situations which beset his day …’ Norman Mailer, The White Negro: Superficial Reflections on the Hipster 1961
