Gruesome Twosome

ipocrisia: TATIANA LËSHKINA

Sat, 18 May 2013 15:11:22 -0400

ipocrisia:

TATIANA LËSHKINA

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Fri, 17 May 2013 14:55:45 -0400

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Fri, 17 May 2013 14:35:54 -0400

ventureandvirtue: Wattstax, a 1973 documentary film by Mel...

Fri, 17 May 2013 14:35:34 -0400

ventureandvirtue:

Wattstax, a 1973 documentary film by Mel Stuart, depicts the 1972 Wattstax music festival and the community of Watts in Los Angeles, California. Held at the Los Angeles Memorial Coliseum on August 20, 1972, the concert was organized by Memphis’s Stax Records in tribute to the seventh anniversary of the Watts riots. Wattstax was seen by some as “the Afro-American answer to Woodstock”. To enable as many members of the community to attend as possible, tickets were sold for only $1.00 each.

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Thu, 16 May 2013 14:12:58 -0400

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Wed, 15 May 2013 22:30:45 -0400

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Wed, 15 May 2013 22:29:43 -0400

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Wed, 15 May 2013 20:26:44 -0400

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Tue, 14 May 2013 13:23:58 -0400

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Mon, 13 May 2013 11:19:48 -0400

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Mon, 13 May 2013 11:19:34 -0400

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Mon, 13 May 2013 11:19:22 -0400

epilepticus: Anthony Gonzales (via BUTT • Tanlines)

Sun, 12 May 2013 19:42:03 -0400

epilepticus:

Anthony Gonzales (via BUTT • Tanlines)

zenfancy: Vik Muniz Tupperware Sarcophagus

Sun, 12 May 2013 19:41:32 -0400

zenfancy:

Vik Muniz Tupperware Sarcophagus

notpetermurphy: Roger Fenton, “The Valley of the Shadow of...

Sun, 12 May 2013 19:41:14 -0400

notpetermurphy:

Roger Fenton, “The Valley of the Shadow of Death” (1855)

A depiction of absence during the Crimean War, Roger Fenton’s iconic photograph shows an empty landscape filled with death objects (cannonballs) that ask the viewer to consider how these cannonballs got there and what their presence replaced.

In Regarding The Pain of Others, Susan Sontag describes the way “canonical images,” such as this one, have been tampered with in order to create a greater affect. As she claims, the first shot of this photograph had more cannonballs on the left, but Fenton then scattered the weapons to create a new documentation of historical loss. To what degree does this alter the “moral authority” of images depicting atrocity? Fenton has altered the already absent landscape, and his taking of the photograph allows him to claim the scene as his own. With this artistic authorship in mind, does Fenton’s altering really alter our perception of the losses suffered?

If left untouched, the scene itself would have changed and eroded. Human manipulation only contributes to the lack of human experience felt in the image. A photograph is thought to capture a moment in time; but as time progresses, perceptions of images change. How many of us today think about the Chimean War? I doubt very many, but this image represents that it happened—that human life was there—and that human life was lost. And that loss coincides with the idea Sontag attributes to staged war photography: “a lost art.”

ipocrisia: drawdivadrawCondoms and Gardenia FlowersVariable...

Sun, 12 May 2013 19:31:55 -0400

ipocrisia:

drawdivadraw
Condoms and Gardenia Flowers
Variable Dimensions
2013

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Sun, 12 May 2013 13:36:30 -0400

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Sun, 12 May 2013 13:14:47 -0400

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Sat, 11 May 2013 19:41:57 -0400