Rona Chang is a Queens based Chinese photographer working on several ambitious projects investigating man's control (or lack of control) of nature. She writes, "It is the intersection of human, climatic, and geographic realms that are contemplated in my photography." Her image sequencing disorients us (intentionally I believe) by juxtaposing images connected by ideas rather than location. This is work I'd much rather see in person than on the web. Show please.(via flak)
R: "Dad, you know that girl Mimi?"
Me: "Yes."
R: "I used to HATE her. Really really hate her. And she HATED me. So much."
[quiet]
R: "But you know what's strange? Now we're in a secret club together. Now we're friends. Don't you think that's so weird."
[quiet]
R: "We're not allowed to have secret clubs in school, but everyone has them anyway."
Me: "What club are you in?"
R: "We're deciding on a name. It's a club I made. We study strange things like ghosts, and toys that move, and shadows that wave at you. Stuff like that. You know spooky stuff. We're writing notes down."
[quiet]
R: "Oh no. I just thought of something. What about vacation? How will we make meetings? I didn't think about that. It might be really bad."
[quiet]
Me: How many people are in your club?
R: "Three. Our club is really really secret. We don't tell anybody. Other people could join, but it takes a special kind of person. Nobody knows about it."
"I mean, I read it, I read it, and I just instinctively sort of, you know, if it says something like: 'Conversation with a dark-haired man will be very important for you,' well, I just instinctively think, you know, who do I know who has dark hair? Did we have a conversation? What did we talk about? In other words there's something in me that makes me read it, and I instinctively interpret it as if it were an omen of the future, but in my conscious opinion, which is so fundamental to my whole view of life, I mean, I would just have to change totally to not have this opinion, in my conscious opinion, this is simply something that was written in the cookie factory, several years ago, and in no way it refers to me! I mean, you know, the fact that I got--I mean, the man who wrote it did not know anything about me, I mean, he could not have known anything about me! There's no way that this cookie could actually have to do with me! And the fact that I've gotten it is just basically a joke! And I mean, if I were to go on a trip, on an airplane, and I got a fortune cookie that said 'Don't go,' I mean, of course, I admit I might feel a bit nervous for about one second, but in fact I would go, because, I mean, that trip is gonna be successful or unsuccessful based on the state of the airplane and the state of the pilot, and the cookie is in no position to know about that."
-Wallace Shawn in My Dinner With Andre
Related: The Elephant Vanishes, The Screenplay
A few years ago Todd Selby photographed scores of creative people in their work spaces for the project The Selby Is in Your Place. Now he's back photographing the people making modern food culture and their workspaces with Edible Selby. I predict this project will be just as popular as the first. To use an overused term, it's a visual feast.
Robert Polidori's Yemen pictures from a 1996 assignment are interesting, but are presented very very small and without much context. Come on New Yorker! Bigger pictures! More words!
Poliodori did not know what was going on in the image above. And anyone who has travelled far away knows the phenomenon of the strange child vagabond, who appears, watches, and vanishes. The blackface must have some significance. Do any of the readers here have any idea? The only reference I could find online this one which seemed to be about another custom.
Polidori is known for popular coffee table book architectural projects covering Versailles, Havana, Chernobyl etc... but I much prefer this looser style of work from Yemen. Where can we see more?
R: Dad do you remember before I was born?
Me: Yes.
R: Was everything the same?
Me: You weren't here, so it was different. We were lonely but we didn't know it.
R: Where was I?
Me: You weren't made yet.
R: Sometimes I think I remember.
Me: Before you were born?
R: Yeah. It just was like space or something.
Me: What did it feel like?
R: Sad. I didn't know anything. I didn't even know what to think. Maybe I was lonely. I don't know. It's complicated to think about. I remember things from a long time ago.
[Quiet]
R: Did you ever travel to a high mountain before I was born?
Me: Yes.
R: I remember that. The stars were beautiful.
"Replaced" by artist Mike Ruiz was created by using photoshop's content aware fill to paint out the Mona Lisa, leaving only her background. The image was then sent to a Chinese copy artist to be painted in oil.... It's a nice try for a computer + copy artist, but I don't think the landscape would be so photoshoppy repetitive, I'll bet the copy artist could have done better on his/her own. Also shouldn't the title be 'Removed'?
I've seen a couple of artworks playing on this idea although this and this one are the only ones I've found online (as an aside MegaMonaLisa is one of the more bizarre sites I've stumbled upon this week).
The landscape in the background has long been a source of studys. One popular theory holds that the background is a painting of the landscape near Bobbio in Northern Italy, based on the theory that the numbers 7 and 2 (hidden in a span of the bridge in the painting) refer to 1472, when a flood washed away Bobbio's bridge. This seems farfetched to me.
Some believe the bridge is the Buriano, near Arezzo. Other historians based on information in Leonardo's topological surveys believe the background depicts the area near the confluence of the Arno and Chiana rivers (In this scenario the sitter obscures a view of Lake Chiana). This seems like a more reasonable theory to me, although it's just as likely Leonardo just drew a background he created from whole cloth.
(Mike Ruiz image is via Good)
The Library of Congress is featuring a large collection of over 300 Civil War ambrotypes and tintypes. They're beautiful, especially at high resolution—and the Library has included high resolution downloads for almost every image, with more variety than I've ever seen in one place. Always be sure to read the captions. Many are heartbreaking and the words tend to fold the distance between the 1860's and today.
A flash slideshow of a few curators picks can be found here, but the best way to view the pictures is to just dive in.
These are a few things I know about Léon Gimpel.
1. He loved machines.
2. He was obsessively curious.
3. He dreamed of flight.
4. He loved the dark as much as he loved the light.
Continue reading "I want to live in Leon Gimpel's world if only for a minute..." →
These portraits of champion pigeons on the National Pigeon Association site are compellingly beautiful (and I don't even like pigeons).
Many more can be found on the National Pigeon Association site. Photos from 2007, 2008, 2009.
Continue reading "Champion Pigeons of the National Pigeon Association" →
Pyongyang Painters is one of the stranger art sites I've encountered. It features "beautiful original paintings from the Democratic People’s Republic of Korea (DPRK)." The site is hosted in the US. Only accepts bank transfers and is run by Felix Abt a Swiss North Korean affairs specialist. The site says it included: "Novelties", "Stories about the artists", and "Information on the great skill of North Korean artists."
This National Geographic report on a Honshu tsunami of 1896 sounds remarkably similar to accounts/images of the recent Japanese tsunami.
The barometer gave no warning, no indication of any unusual conditions on June 15, and the occurrence of thirteen light earthquake shocks during the day excited no comment. Rain had fallen in the morning and afternoon, and with a temperature of 80° to 90° the damp atmosphere was very oppressive. The villagers on that remote coast adhered to the old calendar in observing their local fêtes and holidays, and on that fifth day of the fifth moon had been celebrating the Girls' Festival. Rain had driven them indoors with the darkness, and nearly all were in their houses at eight o'clock, when, with a rumbling as of heavy cannonading out at sea, a roar, and the crash and crackling of timbers, they were suddenly engulfed in the swirling waters. Only a few survivors on all that length of coast saw the advancing wave, one of them telling that the water first receded some 600 yards from ghastly white sands and then the Wave stood like a black wall 80 feet in height, with phosphorescent lights gleaming along its crest. Others, hearing a distant roar, saw a dark shadow seaward and ran to high ground, crying "Tsunami! tsunami!" Some who ran to the upper stories of their houses for safety were drowned, crushed, or imprisoned there, only a few breaking through the roofs or escaping after the water subsided.
(via @jenny8lee)
Yeondoo Jung has been much blogged for his series wonderland where he makes photographs based on children's drawings, but my favorite body of work is his Location series in which he creates environments on stage sets.
Of this body of work he writes:
Ⅰ. Do not try to distinguish between the real and fake landscape in these pictures.
Ⅱ. If you must, do it just for fun as if you are breaking a puzzle. The cost of this will be the fun of appreciating the real thing.
Ⅲ. See the details and appreciate the fact that the space we live in is an assemblage full of clich?s and many different objects.
Ⅳ. Reflect on how much ‘awkwardness’ can be found in the things that we took for granted; the movie scenes are that once we dreamed about, the landscape of far places that made our heart flutter, the romantic lyrics of the pop songs that we used to sing along.
Ⅴ. Amuse yourself with all the fakes, imitations, performances that are audaciously set before the real landscape. The real reality is here for you.
Ⅵ. Pay a tribute to the artist who created, assembled and directed all these fakes, imitations and performances. Thanks to him we were able to take a glimpse on the fragments of the shell that holds our slightly upside down world.
Ⅶ. Be aware. Think how confident the artist must be to hide the real as fakes and visualize fakeness so audaciously.
To quote a line from a trendy soap opera, “Let’s say that the real is disguising the fake as the real. In a situation where the real is acting as the fake as a substitute of the fake, how threatening the fake real must be! It must be indeed a matter of truth and genuineness.”
Jasper, Cleveland, Vidor — they're all East Texas towns you drive through on the way from somewhere to somewhere. They're towns of mobile homes, wood framed houses, small churches, and barber shops. They're not places you notice. But now each of these places is synonymous with the horrible things that happened there. I grew up in this part of the country and the news about the rape Cleveland was particularly unsettling because I felt as if I was reading about people I might have known in school. The last names, the scenery, the house where bad things happen, all are familiar archetypes from an East Texas childhood. In my town there was a building called The Front. Everyone knew bad things happened there. Nobody talked about it. I imagine this was something similar. The details of this case are shocking. 19 men ages 14-29. An 11 year old girl. Rapes over three months. The inclination in the community will be "take care" of this situation and forget about it, to blame the devil, and to protect themselves from the darkness around the case. You can already see this happening in the news coverage. My hope is that the case will force people to ask questions... just maybe, the right questions will help shine light into this community and ask how this could happen. There will be no easy answers.
Perhaps because of all this, I've been thinking about a show at the International Center for Photography titled Jasper, Texas: The Community Photographs of Alonzo Jordan. It's a loving portrait of people in Jasper but it could easily be a portrait of folks in Cleveland or Livingston, or Woodville, or any of the other small communities in East Texas. If you are in New York, it's worth visiting and it's worth asking yourself when you look at the images how these communities get from where they were then to where they are now.
p.s. Speaking of the IFC they have another show up on rural baptism rituals that looks pretty amazing. It's titled Take Me to the Water. I hope to see it soon.
Found on Smith & Wycoff in Brooklyn:
Click to enlarge
