Via Robert Schlaug
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Nous écoutons le grand tintamarre de foire par lequel l’homme instruit des grandes villes se laisse imposer des jouissances spirituelles
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yves deligne
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Rescooped by yves deligne from Photography Robert Schlaug onto Vers les hauteurs |
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The art of Mark Maggiori, french multidisciplinary artist. Delete the scoop?
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Images of the German photographer Joachim Brohm at the photographic art gallery Brancolini Grimaldi in London Delete the scoop?
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Baden’s photographs explore contemporary culture, technology and human relationships. Delete the scoop?
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Two years after the the Great East Japan Earthquake of March 11, 2011, and the following tsunami and nuclear disaster, a large area around the failed Fukushima nuclear plant is still considered an exclusion zone... Delete the scoop?
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Sarah Carp | Photographe | Lausanne, Switzerland
yves deligne's insight:
Le travail de Sarah Carp part d’une recherche intime et contemplative de son entourage immédiat. Une documentation quotidienne qui laisse une place au doute et à une multitude d'ouverture possible. Delete the scoop?
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‘Event’ (1975) by Sigurdur Gudmundsson. Some of Sigurdur Gudmundsson’s early works. ‘Dancing horizon’ ‘Molecule’ (1979) ‘Study for horizon... Delete the scoop?
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A curated online art and design blog featuring established and emerging artists and designers working in the visual and applied arts. Delete the scoop?
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Ernst Heinrich Landrock (Reinsdorf, Saxony, 1878 - Kreuzlingen, Switzerland, 1966) was a photographer, based in Tunis, Leipzig and Cairo. 
oAnth - "offene Ablage: nothing to hide"'s comment,
March 3, 12:01 PM
https://en.wikipedia.org/wiki/Ouled_Naïl - [...] The French colonialist representations of Ouled Naïl portrayed them almost exclusively as dancers and prostitutes who accompany caravans, though none of their tribes seem to be specialised in the sex trade.[8]
The exuberance of their ornaments and the strangeness of their costumes probably contributed to establish this reputation [...] - colonialism & orientalism Delete the scoop?
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The Equinox Gallery of Vancouver, a modern and contemporary art gallery run by Andy Sylvester, represents artists including Lesley Dill, Gathie Falk, Tom Hopkins, Geoffrey James, Liz Magor, Al McWilliams, Greg Murdock, Bernadette Phan, Mary Pratt,... Delete the scoop?
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![Bedford-Stuyvesant [April 2013] | Vers les hauteurs | Scoop.it](http://img.scoop.it/8DKFNOckVMtliun6Z48AFTl72eJkfbmt4t8yenImKBVaiQDB_Rd1H6kmuBWtceBJ)
The result of three intense days of shooting in Bed-Stuy, Brooklyn. Images by Stephane Missier aka Charles le Brigand All rights reserved. Une production de Brigand © 2013 Delete the scoop?
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The first time Maja Daniels saw Monette and Mady together, walking briskly down the streets of Paris, she wasn't sure they were real. Like Alice's White Rabbit, they were there and gone in a flash. Delete the scoop?
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To start, I am a big fan of Alejandro Cartagena’s photographs. In his recent series Car Poolers, he documents and captures construction workers carpooling to and from work. Compositionally, they a... Delete the scoop?
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Scooped by yves deligne |
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During the 20-year break Roger Minick took from documenting sightseers around the United States from the early ’80s to 2000, he noticed crowds and motor-homes increased in size, cellphones and cameras became ubiquitous, and more grandparents and...
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Photographer Paul McDonough has a knack for catching passing, off-kilter incongruities on the New York City streets.
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yves deligne's insight:
Janet Malcolm: Last winter, I came into possession of the papers of an émigré psychiatrist who practiced in New York in the late 1940s and 1950s. The archive included a collection of manila envelopes, around six by ten inches, stuffed with folded sheets of thin paper covered with single-spaced typing: the notes the psychiatrist made after seeing patients (many of them fellow émigrés) in his office. As I studied the sheets with their inky typewriting and 60-year-old paper clips holding them together and leaving rust marks on the surface, my collagist’s imagination began to stir. I began to “see” some version of the collages on view here. The scraps of paper I collect are largely black and white (preferably yellowing white) and have an archaic and melancholy air about them. They hark back to the 19th century and its technological and scientific vernacular. The case studies, with their sad old appearance, were of a piece with this backward-looking aesthetic. Further, in their sometimes almost parodic Freudian interpretations, they summoned a period in psychiatry that is as remote from today’s practice as the manual typewriter is from the Macintosh computer. These collages arose—I’m not sure how—from this encounter with the past.
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