Posted in October 2009

AND TALKING ABOUT RUSSIA

Images by Max Sher, from different series of his.

Max Sher is a photographer based in St. Petersburg, Russia, where he was born in 1975. After obtaining a degree in French linguistics he worked as translator but then decided to start a new career path as photojournalist. Since 2006, Max has been photographing in various Russian regions (Caucasus, Siberia, Urals, Astrakhan, etc.), Belarus, Armenia, Nagorno-Karabakh, Kazakhstan, etc., both as part of his personal projects and on assignments. In his stories Max gives reporting on social issues a historical dimension to portray how things that happened in the past still affect people’s lives today.”

(Via here)

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(POST) NEW YORK DIARIES No. 005

Chinese photographer Lu Guang–who has been documenting the ecological disasters in China resulting from the rapid growth of the economy since 2005– just won the prestigious Eugene Smith Award a few days ago.

And funnily enough I found this out while at the Lucie Photo Awards (thank you to señor Robert Leslie for the invitation) where I also saw some good images: I will be sharing them soon, right here, post New York.

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WORDS

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“Do not tell me the moon is shining; show me the glint of light
on broken glass.”
–Anton Chekhov–

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THE NEW ANTIQUITY

Images by Tim Davis.

(The New Antiquity project examines historical shift in regard to archeological sites, “a set of odd and material monuments” found in the suburbs: “a ruin in the making”. Or history swept into the fringes before it slowly fades away from memory, if not from life–since so much of it is made from time-stubborn materials.)

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A VALPARAISO

Short documentary film (in three parts) created in 1963 by legendary Dutch filmmaker Joris Ivens. Dialogues by the incomparable Chris Marker.

A fascinating little trip to the border of reality.

Click click click.

(Ivens worked in collaboration with the likes of Ernest Hemingway, Jacques Prévert, Frank Capra, Jean-Luc Godard, William Klein, Alain Resnais, Agnès Varda–and Marker of course.)

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A FEW RANDOM CORNERS OF MEXICO CITY

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Flying back today. And so, why not, a few images of Mexico City, by Mark Powell: to start preparing the mind for the return home. Mmm. Always happy to be back. Though always hard to leave New York.

(Mark took  the Martin Parr Tóxico Master-Class and the Stefan Ruiz Workshop.)

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NEW YORK DIARIES No. 003: IT IS STARTING LIKE THIS

“It is starting like this. I am feeling itch like insect is crawling on my skin, and then my head is just starting to tingle right between my eye, and then I am wanting to sneeze because my nose is itching, and then air is just blowing into my ear and I am hearing so many thing: the clicking of insect, the sound of truck grumbling like one kind of animal, and then the sound of somebody shouting TAKE YOUR POSITION RIGHT NOW! QUICK! QUCIK QUICK! MOVE WITH SPEED! MOVE FAST OH! In voice that is just touching my body like a knife.”

-Uzodinma Iweala, Beasts of No Nation-

(page 1, and a child soldier fighting wars in an unnamed African country)

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NEW YORK DIARIES No. 004: IT IS GOING LIKE THAT

“If I could do it, I’d do no writing at all here. It would be photographs; the rest would be fragments of cloth, bits of cotton, lumps of earth, records of speech, pieces of wood and iron, phials of odors, plates of food and of excrement. Booksellers would consider it quite a novelty; critics would murmur, yes, but is it art; and I could trust a majority of you to use it as you would a parlor game.
A piece of the body torn out by the roots might be more to the point

…[...]…

Get a radio or phonograph capable of the most extreme loudness possible, and sit down to listen to a peformance of Beethoven’s Seventh Symphony or of Schubert’s C-Major Symphony. But I don’t mean just sit down and listen. I mean this: Turn it on as loud as you can get it. Then get down on the floor and jam your ear as close into the loudspeaker as you can get it and stay there, breathing as lightly as possible, and not moving, and neither eating nor smoking nor drinking. Concentrate everything you can into your hearing and into your body. You won’t hear it nicely. If it hurts you, be glad of it. As near as you will ever get, you are inside the music; not only inside it, you are it; your body is no longer your shape and substance, it is the shape and substance of the music. Is what you hear pretty? or beautiful? or legal? or acceptable in polite or any other society? It is beyond any calculation savage and dangerous and murderous to all equilibrium in human life as human life is; and nothing can equal the rape it does on all that death; nothing except anything, anything in existence or dream, percieved anywhere remotely towards its true dimension”

-James Agee, Let Us Now Praise Famous Men-

(page 15, author traveling on into Alabama, into the 30s, across the pictures of Walker Evans, up to the farms, into the tents)

(Gracias Benji Z)

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UNEARTHING IMAGES IN IMAGES, FOLD BY FOLD

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Mount Robson

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Piccadilly NY

By Abigail Reynolds.

Last three images from “The Universal Now”. Says the artist about this series:

I collect second hand tourist guides. Within the century of printed photographs that they contain, I search for plates that have been printed at similar scale, taken from a similar view point. When I find a near match between book plates, I cut and fold the pages into a new single surface. The dates written on each work give the publication dates of the books I have used. Whichever has been used as the ‘base’ image is listed first. The patterns I use to cut the two book pages into one single surface are such that all of both sheets of paper are preserved. If you were to fold all the flaps in or out, the entirety of each image will be seen. The act of folding one image into the other pushes them out into three dimensions in a bulging time ruffle. The Universal Now works operate as a resurrection of the unregarded book plates and forgotten photographers that have stood in the same places at a different times, bringing these moments into a dialogue and into the present. The Universal Now takes its title from debates about time continuum in quantum physics.

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NEW YORK DIARIES No. 001: ROBERT BERGMAN

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“Every now and then, the art world offers up an unlikely story, and Robert Bergman’s is one of them. The 65-year-old photographer went his own way over the past four decades, never selling a work until two years ago, but he nevertheless is about to burst onto the scene with two museum exhibitions this month. One is at the prestigious, conservative National Gallery of Art in Washington. The other is at P.S.1 in Queens, the adventurous branch of the Museum of Modern Art. And next month he will have his first show at a commercial gallery, Yossi Milo in Chelsea.” (story). Find an interview with Bergman here.

(Via Conscientious)

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PHANTOM CITY, THAT OTHER NEW YORK CITY

Ajá. New york, New York. Flying there today. So while the big city appears from the outer edge of my airplane window: I leave you with a recent post from the BLDG Blog.

Great project. And now two cities to step into, one posed upon the imaginary of what might have been.

(As if one New York were not more than enough for ten days.)

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A fantastic new iPhone app by Irene Cheng and Brett Snyder has come to market in New York City this autumn. Sponsored by the Van Alen Institute, Museum of the Phantom City is “a public art project that allows individuals to browse visionary designs for the City of New York on their iPhones.”

    Users can view images and descriptions of speculative projects ranging from Buckminster Fuller’s dome over midtown Manhattan, to Antonio Gaudi’s unbuilt cathedral, to Archigram’s pop-futurist “Walking City,” all while standing on the projects’ intended sites.

In other words, you go around the city, iPhone in hand – a kind of architectural dowsing rod held in front of you – discovering the traces of buildings that never were (perhaps even fragments of a city yet to come).

Proposals by Buckminster Fuller are suddenly as real as the Empire State Building – after all, they’re both pictured right there on your iPhone…

As the New York Times wrote this morning:

    A mile-high dome shades Midtown Manhattan, an airport floats off Battery Park, Harlem is enveloped in a hulking megastructure literally lifting residents out of poverty, and the tallest building in the world, continuously under construction, sprouts from ground zero, growing without end.

    “It’s the city that never was but could have been,” said Irene Cheng, an architectural historian. “Sort of an alternate future.”

Without mining the architectural avant-garde and its history of impossible projects, and before you even get to things like science fiction films and comic books, and as you hold yourself back from exploring the spatial reserves of ancient myth and urban legend – weird tunnels beneath midtown, World War II bunkers, secret apartments of the rich and famous – you can simply tap the ongoing economic recession for architectural content.

It would be easy enough, in fact, to put together a tour of building projects that never made it past the recession – New York’s so-called “Lost Skyline” – or, for that matter, of the buildings that never made it past the Depression.

You walk past a certain corner on the Upper West Side and your iPhone starts to ring: you’re being called by a missing building… Absent structures detected in a wireless blur, leaving messages for you (complete with call-back number).

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TARYN SIMON AT TED

It was a great pleasure to hear Taryn Simon´s talk live at TED, a couple of months ago; I have admired her work for quite some time.

As the TED website says:

With An American Index of the Hidden and Unfamiliar, Taryn Simon goes on the hunt for America’s dirty secrets. Gaining entrance to places as diverse as a white tiger breeding facility, the JFK Airport quarantine area, abortion clinics and virus-research labs, Simon shows the things that are integral to America’s foundation, mythology and daily functioning, but remain inaccessible or unknown to a public audience. In her earlier book, The Innocents, she shot portraits of more than 80 wrongly accused death-row inmates who were exonerated by DNA testing, and investigated photography’s role in that process.

(Click click on the video.)

(And a Tóxico interview with Taryn coming soon, for Celeste Magazine, and also right here on the Tóxi-blog.)

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(MORE) LIGHTNING FIELDS

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Images by Sugimoto. From his series Lightning Fields

“The word electricity is thought to derive from the ancient Greek elektron, meaning “amber.” When subject to friction, materials such as amber and fur produce an effect that we now know as static electricity. Related phenomena were studied in the eighteenth century, most notably by Benjamin Franklin. To test his theory that lightning is electricity, in 1752 Franklin flew a kite in a thunderstorm. He conducted the experiment at great danger to himself; in fact, other researchers were electrocuted while conducting similar experiments. He not only proved his hypothesis, but also that electricity has positive and negative charges. In 1831, Michael Faraday’s formulation of the law of electromagnetic induction led to the invention of electric generators and transformers, which dramatically changed the quality of human life. Far less well-known is that Faraday’s colleague, William Fox Talbot, was the father of calotype photography. Fox Talbot’s momentous discovery of the photosensitive properties of silver alloys led to the development of positive-negative photographic imaging. The idea of observing the effects of electrical discharges on photographic dry plates reflects my desire to re-create the major discoveries of these scientific pioneers in the darkroom and verify them with my own eyes.”

- Hiroshi Sugimoto

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IMITATION OF LIFE

Training, Atlanta, GA, 2001

Garbage Circle, Austin, TX, 2001

Motel, Marfa, TX, 2001

Winter Slide, Minneapolis, MN, 2002

White Horse, San Antonio, TX, 2001

Series by Ofer Wolberger, New York based photographer

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MONOGRAPHIE DER SPINNEN

Attus

Epeira

Lycosa

Lycosa Tarantula

Theridion

Thomisus Cancroides

Says Bibliodysey:

Carl Wilhelm Hahn (1786-1835) was a German zoologist and artist.  Hahn’s most significant publication was the dual-titled ‘Monographie der Spinnen / Monographia Aranearum’ (Monograph of Spiders) which was issued in instalments between 1820 and 1836. Of the eight or so (near-) complete copies of this work in the world that have survived, none is apparently a definitive version. The history of the publishing is complicated, involving a change in printers following a quarrel, a small number of subscribers, unauthorised episode issues and, when combined with a sixteen year period of publication, the scarcity of complete works becomes understandable.

‘Monographie der Spinnen’ was the first ever German monograph on spiders and one of the earliest publications anywhere devoted solely to spiders. Hahn provided the original descriptions of a number of previously unknown spider species together with accurate illustrations, so the work is regarded not only as an important historical scientific document, but is still cited today as a primary source in the field of arachnology.

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DORMITORIUM

Our dear dear Quay Brothers–whose Tóxico workshop and lecture was a mind banquet for us all–have an exhibition up in NYC.

Read a post on it right here, from BLDG BLOG.

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(“What happens in the shadow, in the grey regions, also interests us – all that is elusive and fugitive, all that can be said in those beautiful half tones, or in whispers, in deep shade.”

-The Brothers Quay-)
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ARCHIVE WORKS. CEMENTARY SERIES

New work by  Carlos Casas. Visual Artist. Sound Artist. Filmmaker. Toxico-padrino extraordinaire.

(This is both art installation material and also visual and audio research for one of his films in progress.)


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WORDS ON PICTURES ON SCRAPS OF PAPER

Images by David Fullarton.

More here

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NEW YORK, NEW YORK, NEW YORK. (AND ELSEWHERES)

Flying to New York in a couple of weeks. Just found out Robert Frank will be there too. At The Met. We will, alas, miss his lecture; but his show at least will still be up.

“This exhibition celebrates the fiftieth anniversary of the publication of The Americans, Robert Frank’s influential suite of black-and-white photographs made on a cross-country road trip in 1955–56. Although Frank’s depiction of American life was criticized when the book was released in the U.S. in 1959, it soon became recognized as a masterpiece of street photography. Born in Switzerland in 1924, Frank is considered one of the great living masters of photography. The exhibition will feature all 83 images published in The Americans and will be the first time that this body of work is presented to a New York audience. In addition, the exhibition includes contact sheets that Frank used to create the book; earlier photographs made in Europe, Peru, and New York; a short film by the artist on his life; and his later re-use of iconic images from the series.”

And so while I wait for my New York bound plane to take off , I took Amy Stein‘s advice and  listened to this interview with Robert Frank and curator of The Metropolitan Museum of Art’s Department of Photographs (and her thesis advisor), Jeff Rosenheim, on the Leonard Lopate Show.

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“Robert Frank, Swiss, unobtrusive, nice, with that little camera that he raises and snaps with one hand he sucked a sad poem right out of America onto film, taking rank among the tragic poets of the world. To Robert Frank I now give this message: You got eyes.”

– Jack Kerouac
Excerpt from The Americans
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SAGMEISTER AT TED

It was a great pleasure to see Stefan Sagmeister–renowned graphic designer– on stage again at TED, a few months ago: this time it was all about sabbaticals and creativity.

(His Tóxico workshop and Tóxico conference still resonate deep in the head. And he was our first international guest and, so, he is almost like a padrino.)

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IF THE LIGHT GOES OUT. HOME FROM GUANTANAMO

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Images by Edmund Clark

Says Lens Culture:

Photographer Edmund Clark has made a series of photographs that examine various aspects of the prison camps at Guantanamo Bay. He explores the facilities for the prisoners, and for the Americans who live there at the naval base. Then he visits and photographs at the homes of some of the detainees who have been freed, where the former detainees now find themselves trying to rebuild their lives.

The post-prison homes illustrate the contrast between the shared humanity of their domestic interiors and the spaces of the prison camps. Motifs of imprisonment and entrapment are present in both, resonating with the prisoners’ experiences — and coming to terms with them. Glimpsing the evening sun through a window is a simple thing but readjusting to having the freedom to do so may not be so simple. The narrative is confused and unsettled as the viewer is asked to jump from prison camp detail to domestic still life to naval base and back again. This disjointed edit is intended to evoke the disorientation of the process of incarceration and interrogation at Guantanamo and to explore the legacy of disturbance such an experience has in the minds and memories of these men.

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“When you are suspended by a rope you can recover but every time I see a rope I remember. If the light goes out unexpectedly I am back in my cell.”

—Binyam Mohamed, Prisoner #1458



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