“a camera can only deal with the visible. A photographer trying to communicate his or her perception of the currents below the surface of things has to find instances where these currents are visibly manifest.”
— Stephen Shore (“History of Erasure” in History Images by Sze Tsung Leong).
Photograph excerpted from “Waiting For Beck” by Nina Berman & Alan Chin, in BagNewsNotes.
(via greatleapsideways)
Books on Books #9
Paul Graham: Beyond Caring
Essays by David Chandler, Jeffrey Ladd
Hardcover w/ Dustjacket
104 pp, 9.5 x 7 in.
50 Color illustrations
ISBN: 978-1-935004-16-5
$39.95
Release date: February 2011
Limited Edition Set also availablePublishers Description:
published in 1986 is now considered one of the key works from Britain’s wave of “New Color” photography that was gaining momentum in the 1980s. While commissioned to present his view of “Britain in 1984,” Graham turned his attention towards the waiting rooms, queues and poor conditions of overburdened Social Security and Unemployment offices across the United Kingdom. Photographing surreptitiously, his camera is both witness and protagonist within a bureaucratic system that speaks to the humiliation and indignity aimed towards the most vulnerable end of society. Books on Books #9 presents every page spread of Graham’s controversial book along with a contemporary essay by writer and curator David Chandler.
(via zsallen)
Walnut Creek to San Francisco, twice a day, five days a week. Photographing the daily commute, being present in the now with an unsophisticated camera and captive to a time and place. Twenty-four photographs, sixteen pages, six bucks.
“Mornings/Evenings”, my follow up to “Weld”, should be available in a few weeks. Just finished the edit and layout and ordered the publisher’s proof from MagCloud.
I read this out loud to my wife and she said, “Don’t you hate to have to agree with Andy Warhol?”
An essential element of any art is risk. If you don’t take a risk then how are you going to make something really beautiful, that hasn’t been seen before? I always like to say that cinema without risk is like having no sex and expecting to have a baby. You have to take a risk. vs. “… if you say that artists take ‘risks,’ it’s insulting to the men who landed on D-Day, to stunt men, to baby-sitters, to Evel Knievel, to stepdaughters, to coal miners, and to hitch-hikers, because they’re the ones who really know what ‘risks’ are.” She didn’t even hear me, she was still thinking about what glamorous “risks” artists take. “They always say new art is bad for a while, and that’s the risk—that’s the pain you have to have for fame.” (…) “No,” I said. “It’s not new art. You don’t know it’s new. You don’t know what it is. It doesn’t become new until about ten years later, because then it looks new.”
(Source: dailymeh)
“If you spend your life working on something that you love, and you never have success with it, well, at least you spent your life doing something that you love. And by doing something that you love, you vastly improve the chances that you will have success with it. Because the worse case scenario is to give up your entire life to work on something that you don’t love and end up having no success with it. So then at the end of your life you look back and you say ‘Oh, I compromised and had no success.’”
-Moby
I love Keith Haring. I’ve had a copy of Nina’s Book of Little Things since I was little.
— Alec Soth and his Open Letter to The New York Times « DARIUS HIMES
