You are free and you risk something by taking a photograph. It’s not taking a snapshot of your sister. You risk because this is maybe not the way people think one should photograph. So you go out on a more different road. There is a risk involved in that. And I think if an artist doesn’t take risks, then it’s not worth it.
Our ability to achieve greatness is impeded by our addiction to getting to fast results and instant gratification. We are a civilization focused on the ends rather than the means, resulting in a complete absence of ethics.
"I maintain that photographs are ultimately unreadable. The seeming representational nature of the medium is misleading because we will not find any real truth. As viewers, we should recognize how much subjectivity we bring to understanding images.
Hans-Peter Feldmann (born 1941 in Hilden) is a German visual artist. Hans-Peter Feldmann is a figure in the conceptual art. Feldmann's approach to art-making is one of collecting, ordering and re-presenting amateur snapshots, print photographic reproductions, toys and trivial works of art.
This is the second in a series of delightfully quirky photobooks of images made by Frederic Lezmi with his iPhone. It's not really a book; it's more like a box of beautifully printed lithographs on heavy paper — so you can take them out one by one to appreciate them (even frame them), shuffle the order, or arrange them as a grid on your wall... They are self-published in a signed limited edition of 100.
Instead of giving you a top 10 I decided to humbly borrow the format of the Oscars and select the best books by category (as with the Oscars, my categories are suitably ridiculous). So without further ado, I bring you the the official eyecurious Best Books of 2011.
Raw, honest audio interview w/ Swedish photographer Anders Petersen reveals secret methods + psychological tricks.
Anders Petersen, one of the most important European photographers living today, has been shaking up the world of photography ever since his debut of raw and intimate photographs of late-night regulars in a Hamburg bar in the 1960s.
Seven years ago I travelled to India. As I drove a bike through a small town called Siolim, in the North of Goa, I noticed a crowd of people surrounding a small figure. I passed by and could see that the figure was clothed in a Nun’s habit and with outstretched arms was allowing the crowd to touch and hold her hands.
Goldin is one of the 20th Century’s most important photographic practitioners. Her Ballad of Sexual Dependency will forever stand as one of the shining moments of American photography. Scopophilia “pairs her own autobiographical images with new photographs of paintings and sculpture from the Louvre’s collection” (to quote from the press release).
Frank Horvat made a couple of interesting interviews with well known colleagues about their practice, motives and ideas. One of the most funny ones he made with the then 61 years old Mario Giacomelli in 1987.
What makes the cover as good as it is: 1. It’s a woman! — because the protests have also been phenomenal on gender terms … and speaking truth to testosterone. 2. …And, how often has a woman even been TIME’s “Person of the Year?
A time-lapse made by photographer Lottie Davies to complement the film: "Dreams of a Life — and the themes of society, loneliness, friendship and love, that it explores — the producers set out to create a digital experience in Dreams of Your Life, that would accompany the film and allow the audience to explore the themes raised in the film further. "
From its earliest days, rock and roll was captured in photographs that personalized, and frequently eroticized, the musicians, creating a visual identity for the genre… The photographers were handmaidens to the rock-and-roll revolution, and their images communicate the social and cultural transformations that rock has fostered since the1950s.
In the same way that it must have been great to be a musician when the first electric guitar and rock’n roll appeared half a century ago and shook the Establishment, it is just so interesting to play with photography nowadays.
We look at 29 titles by Philip-Lorca diCorcia, Platon, Joel Sternfeld, Ryan McGinley, Brian Ulrich, Benjamin Lowy, Shen Wei and more, plus catalogues from the Victoria & Albert Museum and an anthology of photographs from The New York Times Magazine.
"The weight of recent history is palpable, the apocalypse threatening, urban spaces emptying, ghost cities remaining. Yves Marchand and Romain Meffre’s end of the American dream with 20 prints of Detroit, from “The Ruins of Detroit” by Steidl. Mun Chen’s empty Canton towers and Philippe Chancel’s towering Dubaï skyscrapers."
Before Photoshop allowed image makers to bend reality to their will with a single keystroke there was Jerry Uelsmann. His layered images came from seven enlargers, multiple negatives and his own hands.
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