April 17, 2014
I’m walking somewhere, the sun is shining
my shoulders are brown against a hot pink bra
my hair is down, curls spiraling through the air
my stride is long, my hips swing whpshh whpshh whpshh
as the clouds go round.
Words float through my mind, real words that is
and as I’m putting them together in a sentence
my heart breaks open
April 16, 2014
April 15, 2014
George Orwell foresaw in 1949 a world where government surveillance was fully integrated into modern life, and warned us of what happens when the object of power is power. “Power is in tearing human minds to pieces and putting them together again in new shapes of your own choosing,” Orwell wrote.
The best way to do this is to know your subject better than they know themselves, to observe them in their daily routines, their habits, the large and the small, and to teach your operatives how to infiltrate their world by putting this knowledge into use. The Stasi, the East German secret police, were notorious for spying on their own populace, employing almost 300,000 people to keep tabs on their citizenry. After the reunification of Germany, most of the Stasi archives were opened to the public, making access to its secrets unprecedented and unique.
Using this access, Simon Menner (born in 1978 in Emmendingen, Germany) edited a selection of photographs for Top Secret: Images from the Stasi Archives (Hatje Cantz), presenting us with an overview of the various uses of government surveillance under one of the most repressive regimes of the twentieth century. From a series of seminars on disguises, where Stasi personnel were taught how to change their appearances in order to camouflage themselves with wigs, fake facial hair, Western tourist costume, or East German professional dress to the collection of body gestures meant to convey secret signals from one agent to the next, the photographs in Top Secret take on the air of the absurd.
Read the Full Story at
L’OEIL DE LA PHOTOGRAPHIE
April 14, 2014
This is an American family. It is a story we do not hear. A story of five generations brought together in honor of the life of its matriarch. Idell Marshall, born on April 14, 1915, died on July 16, 2011. She was 96. For all intents and purposes, she died of old age. When she began to get weak, her daughters reached out to all members of the family and they came to her bedside to say goodbye. One of her grandsons is Eric Johnson, a photographer whose works are ingrained in popular consciousness. But in the presence of his family, he is just Eric, one of the 91 members of Mrs. Marshall’s family.
Johnson had been on a job in Miami when he received the call from his mother. And he began shooting as he came up on the train. He documented his journey as part of a larger story, the story of a family brought together by a woman whose success few can claim: 14 children (8 alive today), 28 grand children, 38 great grandchildren, 11 great-great grandchildren—a veritable clan is Mrs. Marshall’s legacy.
But this is not just the story of a family, it is the story of a place. Charlotte County, Virginia. The South. The American South. Charlotte County was formed in 1764, and was the second governing body in the 13 colonies to declare its independence from England. During the Civil War, a ragtag group of Confederate old men and young boys beat the odds and held off an assault by 5,000 Union cavalry soldiers on Stauton River Bridge, which was of strategic importance to General Robert E. Lee.
Today the population numbers over twelve thousand, with Caucasians accounting for 65% and African Americans accounting for 33%. And of that 33%, Mrs. Marshall and members of her extended have lived here their entire lives. Mrs. Marshall and her now-deceased husband had purchased a large tract of land in 1968 that now is home to five families of the clan. And in keeping the family closely connected, Mrs. Marshall and her descendants have accomplished something very rare.
Our idea of family has become plastic. Time begets progress and progress begets change, and where families were traditionally tied to each other and the land for countless generations, it is now common for families to be in so many ways estranged, most notably from each other, but also far from the town that was once known as home. And it appears to be normal, if not acceptable and encouraged, if we are out of regular contact with the world in which we are from.
But with the ownership of land comes the opportunity for a greater investment, not just in the self but in the long-term viability of the family. And so it is that when Mrs. Marshall passed, her family of 91 was easily united, and so it came to pass that the funeral was to be held three days later, bringing together not just her descendants but all the people whose life she had touched.
Johnson’s pictures tell the story of a family, of a people united by blood and shared experience. It is a story of stories within stories, so many layers that in each of these photographs there are histories untold. We see individuals, people whose lives are interrelated in ways that we may never know. But with each frame Johnson gives us access into the heart of a family united around the woman who made it so.
One of the most striking images is Mrs. Marshall before her death, gripping Johnson’s hand. The image is evocative in revealing the strength that life holds, even as it is slipping away. In complement is the photograph of Mrs. Marshall lying peacefully in her coffin in perfect repose. In looking at her face we feel assured that one can pass peacefully into the next world. We can look at Mrs. Marshall as a woman who not only lived a life like no other but we can aspire to have the peace in her heart, the faith that has guided her through life and made her death an expression of grace and dignity.
What is also striking is a small backstory to this image. Growing up Johnson recalls seeing photographs of deceased family members in the photo album, and being uncomfortable in the presence of these images. He remembers turning the pages quickly past these pctures, as a way to avoid the feelings they raised. It is then that this story is all the more fitting, that he should take this photograph of his grandmother and be able to observe death, both in person and through his lens, as something that is serene and natural.
But this is not a story about death; it is a story about the eternal continuum. For the circle has no beginning and no end, and so in these images we return time and again to the lives of all Mrs. Marshall has left on earth. And each of these lives tells a story, and each of these photographs offers a glimpse. And the greater story has yet to be told because this is just the beginning, my friend.
First Published 14 April 2012
Le Journal de la Photographie
April 13, 2014
Cultivate the habit of being grateful for every good thing that comes to you,
and to give thanks continuously.
And because all things have contributed to your advancement,
you should include all things in your gratitude.
April 11, 2014
Artist, activist, and author Clayton Patterson is the unofficial historian of New York’s Lower East Side. For over three decades he has lived in the neighborhood, establishing himself as fixture in the landscape that has been central to the development of New York’s underground scenes.
He moved to New York in 1979, where he began working as an artist, creating paintings, prints, photography, and sculpture. He had his first exhibition that same year at the Frank Marino Gallery in Soho. By 1982, he purchased a building on Essex Street that became home, studio, print shop and gallery for himself and partner Elsa Rensaa.
His life changed dramatically on the night of August 6-7, 1988 when he gained notoriety for videotaping the Tompkins Square Park police riot. In what was the first of many legal cases for Patterson that concerned artists’ rights to their work and freedom of expression, he was arrested for refusing to give up his tape and sent to jail for eight days before a settlement was negotiated that allowed his release. The actions of officers that night against neighborhood residents, homeless individuals, affordable housing advocates, anarchists, squatters and others resulted in the filing of over 100 complaints of police brutality. The footage was important evidence in the investigations and legal proceedings that followed and several officers were disciplined or criminally indicted. The city also paid an estimated $2-3 million in settlements to the injured.
The Tompkins Square Park tape changed the direction of his work and his life. Afterwards, he became actively involved in neighborhood struggles and his video and photography often focused on such issues as the homeless crisis, drug trafficking, police corruption, and the displacement of the poor and artists by gentrification.
Patterson speaks with The Click about the nature of New York in this time of change, a period of revitalization under former Mayor Michael Bloomberg that changed the very fabric of New York’s landscape. Read the full story at THE CLICK.
April 10, 2014
Since its inception in the late 60s, graffiti has been a the most public of public arts, the ultimate statement of self, a mark of existence that enlivens the streets. Since it began with tags, it has since expanded in all manners including beyond its original letterform. As it shifted into an image-based lexicon, it took on new forms, and was dubbed Street Art as a way to differentiate itself. And while many have succeeded in any number of mediums, there is only one photograffeur: JR
JR has taken photography to new heights. By employing the ideals of graffiti—scale, placement, and proliferation—JR’s work creates its own expectations. The 2011 winner of the TED Prize, he works on a global scale using art to effect a change in the world. Women Are Heroes: A Global Project by JR (Abrams) showcases one his most noble efforts, a tribute to women on a massive scale, with public art works produced in Sierra Leone, Liberia, Sudan, Kenya, Brazil, India, and Cambodia. Mural size photographs of everyday women were created on monumental scale from simple black and white portraits that are at once intimate and outlandish, evocative and emotional, provocative and profound. The cumulative effect of JR’s work allows for a new understanding in the representation of women, as well as in the discourse of public art.
Public art, such as it exists, has been a tool for the establishment to reinforce itself. Whether it is the monumental sponsored work of the church and state, or more recently, the art world’s ever-present self-veneration masquerading as a “profitable investment” most public works have been imposed by external forces upon the community it claims to serve. Graffiti and street art also impose, but they do so by way of the anonymous insider making his or her presence known. Here, JR takes the insider to the furthest possible reach, making heroes out of the people themselves, effectively saying, “In you, beauty exists.”
JR’s installations serve the people by becoming part of the whole, by transforming the landscape by fusing the internal and external at the same time. The placement of the works are as telling as the choice of subjects themselves, for the art of Women Are Heroes exists only in lands of extreme poverty throughout the world, in lands where people are marginalized in ways we of the first world all too often forget.
But JR won’t let us forget, and he takes us deeper into the abyss by granting access to the personal side of his subjects in “As Told To” narratives throughout the book. As Chantha Dol of Cambodia reveals, “I agreed to have my photograph put up so that the men in power in Cambodia would open their eyes and take a look at our condition. The reason my eyes are so wide open is to show my anger. Words are no longer enough. I want people to ask themselves why these photograph of women were put on the walls of their houses.”
But Ms. Dol might not know that when she agreed to be photographed, the question she wanted people to ask themselves would be a question to travel around the world. JR’s continued success allows the work he is doing to reach new audiences that go far beyond the traditional realms of photography and street art. As his audiences expand in both size and prominence, the questions his work raises gain power and strength, inspiring us as individuals and as societies to look at ourselves with fresh eyes.
Women Are Heroes is a sumptuously produced tome that pleasingly combines the grand scale of the public works with the directness of the photographs and stories being told. It provides context at every turn, allowing for a more complete experience of the installations themselves. This book is equally provocative and pleasurable, as each turn of the page reveals an unexpected angle on the power of photography to tell stories and touch hearts. Imagine eyes softly shut, black eyelashes lain thick, now imagine this image pasted to the side of a garbage truck at a dump in Cambodia. JR reminds us women are worthy of a veneration that goes deeper than the flesh, that celebrates an inner beauty in every being that only art can truly make manifest.
April 8, 2014
You never really know. You go along, thinking, “This is so” until what is becomes what was, and you look around to see what remains of the dream you held in your heart…
In September 2013, Carlos Batts published Fat Girl (Rare Bird Books) a collection of photographs of his muse and wife, the venerated feminist porn star April Flores. The photographs for the book were edited from an archive dating back twelve years, to the very first day they met. It was at a photo shoot. Flores still remembered how it went.
She was on her way up to Batts’ studio, walking up the steps. She stopped between landings and was hit with a message: If she continues forward, her life will change forever. “I decided, ‘Fuck it. Let’s see what happens,’” Flores recalled. And it was at that fated first photo shoot that it all began.
Read the Full Story at
L’OEIL DE LA PHOTOGRAPHIE
April 7, 2014
The feminine ideal: she is an industry unto herself, a vision of beauty held above all, as a thing to aspire towards, or to have and to hold. She exists because we need her to be, a vision of power or submission, whatever the frame may be. She is both muse and mistress, demanding our attention in ways that go beyond the physical, infiltrating our imagination with a siren song that has come to rely heavily on Autotune. She exists, today, as a reflection of the dominant race, pale of skin, lank of hair, and svelte of shape. She is as curvy as she is allowed to be, not so much as a thing of flesh and muscle, but of the bare minimum because, you see…
Fashion sets the trends, consumers keep the pace, and what is often see in two dimensions is made manifest in three when we pass by store windows advertising their visual glossary. Mannequins are the new public art, replacing sculptures of the goddess in the name of commerce. In a culture where money is king, the greatest art and aesthetics are that which can be purchased. And so it is the mannequin must relay our ideals and fantasies while simultaneously making them accessible, in the form of purchasing all that is covering she.
More often than not, we look without seeing. We look at what we can purchase, should we choose, but not necessarily at the setting. We don’t see the frame, nor do we see the stage, nor do we consider that we are at once actor and audience in a story that demands our participation. We don’t necessarily think of the layers of meaning upon that which we have rendered mundane, for questions go against the capitalist grain. “I shop therefore I am,” Barbara Kruger declared, and it is the mannequin that reminds us that she can be we if we so dare.
Lee Friedlander’s Mannequin (Fraenkel Gallery) is a meditation on the matrix that is the marketplace, the space where sex, fashion, and consumerism commingle in strange and mysterious ways. Over the past three years, Friedlander has walked the streets of New York City, Los Angeles, and San Francisco, taking aim at the surreal and modernist spectacle. To make the photographs for Mannequin, he returned to the hand-held, 33-mm camera that he used in the earliest decades of his career, taking note of the way in which the female ideal becomes one with the urban landscape in provocative and surprising new ways.
For Friedlander, the magic of the mannequin is to be found in the glass behind which she stands, visible yet inaccessible, like so many strangers we pass. Yet the mannequin never moves, she is always rooted in place, an object of display and repose, calling us to her with flawless physique. Yet, it is this very glass that creates a hallucinatory effect, situating the mannequin in a sea of reflections that make her at once a mystical object. As Friedlander’s eye catches the transformation of light upon glass, we see the female ideal as majestic, much like the buildings themselves. Caught on film, the mannequin is no longer a mere model for ever-changing product, but something more mythological than this: this is the goddess re-imagined in the lexicon of the urbane ideal. She is ethereal, much like a spirit or ghost, inhabiting both the space in the window and the space beyond. Her form, so carefully crafted, disintegrates. In Friedlander’s vision, no longer is the feminine ideal a thing we already know, but a new way of seeing woman and her place in—and as—the world.
Originally Published 23 January 2013 in
LE JOURNAL DE LA PHOTOGRAPHIE
April 6, 2014
Observe the wonders
as they occur around you.
Don’t claim them.
Feel the artistry
April 5, 2014
April 4, 2014
Anton Perich is the underground, a man whose innovative brilliance shaped the course of American art for the last quarter of the twentieth century; he who invented the electric painting machine (an early predecessor to the inkjet printer) in 1977-1978 was also the man who introduced public access television (an early predecessor to reality TV) to New York City in 1973.
Born in Dubrovnik, Croatia, Perich was in Paris from 1965-1970. He recalls, “I was associated with Lettristes from 1967 to 1970. I worked with Lemaitre and Isou, painting, writing poetry, shooting films, doing the shows. Lettrism was my school. I was educated by the two greatest artists and thinkers of that time. Of course Isou predicted the 1968 revolution and went mad. We did some performances at L’Odeon, it was occupied, Non-stop 24 hours spectacle. I spent few nights there.
“I think that the Revolution of 68, the Paris Spring is grossly misunderstood today. It was not the flesh and blood revolution, no guillotines. It was the revolution of spirit, of the young, so unique in the history of revolutions. It paved the way for other bloodless revolution in the Eastern Europe. Imagine, the Communism died the bloodless death. Tell it to Stalin, or Lenin.
“I lived my own revolution there. I became something else at 23. It is difficult to transform oneself, only fantasy and revolution will do it. And spirit. And resurrection. And the fire in Paris streets. And ‘sous les paves la plage’. The greatest slogan ever written.”
Read the Full Story at THE CLICK.
April 3, 2014
KEL 1ST is the original, a pioneer and an innovator of the old school. Once again he is leading the way, bringing graffiti to the people in a new app, 2Many2Name. He has graciously agreed to share his thoughts on graffiti in the age of digital reproduction.
Miss Rosen: Why an app ?
KEL 1ST: I chose an app for a number of reasons, one I have always looked to integrate technology with Graffiti. In 1990s it was with VoiceoftheGhetto.com as the first urban outpost on the web. Where I was creating CD-ROM based apps that tied into the web for content. Today it is a straight app for mobile devices, phones and tablets. It is also a direction that publishing is headed toward.
Apps are the future of many forms of communication and information consumption. So I have invested many years of my technical career into creating and integrating technology with a subject I happen to love, Graffiti.
An app gives me the opportunity to do things you cannot do in a printed book. One very big reason for an app is it can be updated and the cost to the customer is zero. As with a book, you would have to buy it all over again.
How does graff translate into the digital realm for artists and fans alike ?
The transformation to digital does not replace the painting. But rather enhances the artist skill, creative thought and exploration process. Many opportunities are accessible in digital that require almost no added expense. This leads to a rapid iteration flow, and lots of kool ideas just roll out!
The 2Many2Name app is right there with the artist while they are exploring their creativity in software by offering downloadable color palettes. These color palettes can be used in professional software applications like Adobe Creative Suite.
What do you find most innovative about technology as it related to graff ?
Technology has found its places in Graffiti in so many ways, the types of spray nozzles available for varying types of new paint and in software. The software today in the hands of a savvy and creative person will generate works that can easily become the next “Burner” on a train or wall. In very quick fashion, you can see color combinations, study sketches and edit to perfection. Its different when you have you use your mind in an abstract way to “see” these things. Which was the way I had to create my work before technology was accessible.
Why the number 2 ?
The reason I chose the number 2, is because I had done a personal study of the trends in Graffiti when I was writing. I felt that books in general miss historical details about our history and the pioneers who contributed to its growth. Graffiti is global, no doubt about that!
I have always believed that this is a WE thing not a ME thing. Not that I have a problem with publishing a book about myself or any individual. There is a value to that story as well. But it does not cover or shine on the things I am bringing to the forefront with the 2Many2Name book app series.
The 2 is a significant character in the development of wild styles. It presented very attractive and powerful attributes that easily become the most complex pieces. This is a hidden gem in the historical timeline of graffiti and wild style masterpieces. As a big fan of those masterpieces and the very talented minds that painted them. I pay homage to them and the many friendships that grew from that with this app and the ones that follow.
Who is on it ?
I took a cross selection of generations of wild style masterpieces during the time I was very active and inspired. On the app you will find works of Dondi, Kool 131, Kade 198, Case ll, Slave One and myself. These names are a fraction of the list of significant and important contributors to the development of graffiti wild style masterpieces. That has affected a global audience of followers and pracitioners.
What are the original source materials ?
I have a good library of pictures I had taken back then, finding and selecting the right ones was challenging. The great part of this project for me was revisiting all those works and remembering the stories. Certainly has inspired me to paint again and often.
Can you talk about color schemes and how they figure into Wild Style energy ?
The colors were the driving light of energy in the pieces as we refer to them as “BURNERS”. There are details that make the piece “burn” by carefully choosing the “right” colors. Something complimentary or mixing extremes to create the new “hot” color palette.
Color has an even greater role today than it did when I painted. We had a small exotic palette of colors. In contrast today we have numerous shades of each hue to choose from. I am not so sure that having so many shades is good. You tend to create your best when you have the least of something this becomes a natural to innovate and improvise as you create your best work. That gets lost I think in translation with too many options. A very good example of that is the “2Much” by Kade 198, TMT Crew. He used a small palette of colors, not more 5 or 6 and his piece is amazing.
Those were the kind of conditions that stimulate your creativity on many levels. It is not just the color you have to consider but the style and flow of your masterpiece. Of course there are environmental elements that also enhance our energy in the creation process.
Also about the structure of the letters / number themselves, and the way you’re approaching Wild Style as typography ?
Graffiti resembles many forms of communication, advertising, marketing, and typography. It is about the letter, the word, the name, and the message.
But this wasn’t at the forefront with us when we were out there. To us it was just “Getting Up”. By today’s translation it’s using typography and the various forms of communication, to “Get Up”. All in addition to spray paint, markers, pens and pencil.
One way we chose a particular tag was to find letters that had a strong look, sound and relationship to the word. This gave it the prominent appeal. It would also be easy to do great masterpieces and have an equally strong “tag”/signature.
Graffiti is the modern urban typography, it is a language that is evolving and gaining a very large base of writers to support it as it grows in all areas.
Check out 2MANY2NAME at iTunes
April 2, 2014
“Keeping a secret was never really my thing,” Adèle Jancovici writes in the beginning of Maripola X, the first edition from Le Livre Art Publishing. As publisher, Jancovici collaborates with artists to produce editions in various forms, be it books, prints, and other media that offer a public space for the private thought.
Jancovici likens herself to a movie producer working in the 1940s, envisioning the finished work as the space of collaboration between herself and her artists. Like any great producer, Jancovici understands that art is a vehicle from which a voice and a spirit emanates and has the ability to influence all those who come into contact with it.
“People should look up to artists with reverence for being so vulnerable and for being so secure with their intent. Women pour out their guts while men hold it inside. Men are outside, women are inside, a yin yang of complementary energies, just like vulnerability and strength. Though I see myself as in the middle, I feel much more masculine in my work. As publisher I am there to protect my artists, to make the Le Livre Art Publishing a safe space for them,” Jancovici reveals.
Read the Full Story at
L’OEIL DE LA PHOTOGRAPHIE
April 1, 2014
It is estimated that ancient inhabitants first migrated from Africa by way of Southeast Asia to Papua New Guinea (PNG) between 50,000-70,000 years. Around 7000 BC, agriculture developed in the highlands, making it one of the few areas in the world where people independently domesticated plants, and by 3000 BC, merchants from Southeast Asia began to trade plumes of bird of paradise native to the island.
Sharing an island with Indonesia, PNG rests just miles from Australia. Home to 6.3 million people, PNG is considered one of the most culturally diverse countries in the world with 848 different languages listed for the country, of which 12 have no known living speakers. PNG is also one of the most rural counties, with only 18% of its population living in urban centers. Although the nation has the sixth fastest-growing economy in the world, as of 2011, at least one third of the population lives on less than $1.25USD per day.
PNG is one of the world’s least explored countries, both geographically and culturally, making the work of Stephen Dupont even more salient and prescient in ways we cannot yet fully comprehend. His newest book, Piksa Niugini Portraits and Diaries (Radius Books/Peabody Museum Press) is a two-volume slipcased set that documents PNG’s most important cultural and historical zones: the Highlands, Sepik, Bougainville, and the capital city of Port Moresby.
Read the Full Story at
L’OEIL DE LA PHOTOGRAPHIE