My First Visit To New York City
(Pentax MX TriX 400)
“The idea of divine inspiration and an aha moment is largely a fantasy. Anything of value comes from hard work and unwavering dedication. If you want to be a good artist you need to look at other artists, make a lot of crappy art, and just keep working.”
Ann Gardner (b. 1947, American) - 1: Yellow Orb, 2014 Mixed Media, Glass Mosaic 2: Nightfall, 2014 Blown Glass, Steel Armature 3: Morning (detail) 4: Oculus #1, 2011 Glass, Steel 5: Ring of Water (detail), 2003 Glass, Composite, Concrete, Steel, Terrazzo Floor 6: Falling Light, 2014 Blown Glass, Steel Armature 7,8: Fuse + detail 9: Ann Gardner (b. 1947, American) - Solo Exhibition at Winston Wächter Gallery, 2014
Pina Bausch, Folkwang School, 1960s. Photographer: unknown.
"I loved to dance because I was scared to speak. When I was moving, I could feel."
Masao Yamamoto (山本昌男), photographer. Japan
“I hate solitude, but I’m afraid of intimacy. The substance of my life is a private conversation with myself which to turn into a dialogue would be equivalent to self-destruction. The company which I need is the company which a pub or a cafe will provide. I have never wanted a communion of souls. It’s already hard enough to tell the truth to oneself.”
Iris Murdoch (via thatkindofwoman)
Pae White (b. 1963, CA, USA) - Mixed Media Mobile Installations
Andrew Putter: Native Work (Capetown, South Africa)
This new installation comprises 21 black-and-white photographs of contemporary black Capetonians, in ‘tribal’ or ‘traditional’ costume in the genre of the iconic ethnographic photographer Alfred Martin Duggan-Cronin. These are displayed in a grid alongside the same subjects photographed in colour, where the sitters chose what they wished to wear based on how they see themselves.
'Cognizant of the dangers inherent in Duggan-Cronin's colonial, ethnographic approach to making images, Native Work nevertheless recognises an impulse of tenderness running through his project,’ writes Putter in an article about his project published recently in the journal Kronos: Southern African Histories. ’By trusting this impulse in Duggan-Cronin’s photographs, Native Work attempts to provoke another way of reading these images, and to use them in the making of new work motivated by the desire for social solidarity, a desire which emerges as a particular kind of historical possibility in the aftermath of apartheid.’
By exploring his own complex feelings towards an ideologically tainted but aesthetically compelling visual archive, Putter enters the fraught terrain of ethnographic representation to wrestle with himself about his own complicity, as an artist and a white South African, in this troubled visual legacy. Art critic Alex Dodd writes that this new work ‘constitutes one of those rare instances in which it becomes unmistakably clear to the viewer that the primacy of authorial intention has everything to do with the subtle alchemy that determines the meaning and affective power of images. In this case, the immense respect and tenderness that went into the making of the photographs registers visually as a kind of auratic quality of dignity that shines through each and every portrait.’
University of Michigan fraternity party, 1949, a photo by Stanley Kubrick for LOOK magazine
“Writing is a form of therapy; sometimes I wonder how all those who do not write, compose or paint can manage to escape the madness, melancholia, the panic and fear which is inherent in a human situation.”
Graham Greene (via dederants)