Showing posts with label fotografía. Show all posts

6.18.2024

thenPeopleForgetYOU

Robert Heinecken (American, 1931-2006)

Then People Forget You
1965
Gelatin silver print
10 3/8 x 12 15/16″ (26.3 x 32.8cm)
The Art Institute of Chicago. Gift of Boardroom, Inc.

en la entrevista que recién me hizo Pedro Pablo Marín para su Xochipilli Podcast (ver post abajo), hablando veloz de mi pasado fotográfico se me esfumó el nombre de uno de mis dos maestros, ambos personajes únicos y opuestos. imperdonable que no me acordara de Robert, me dije luego, aunque sabía bien del esfuerzo por olvidar esa época. la memoria es fallida y el olvido, fragmento transparente.

al rato, sacando del polvo una caja que aún huele a fijador y arrastra nombre y dirección, una de las piezas de entonces, hecha trizas de fragmentos, cayó al piso. ahí la dejé, pensando en instantes diríamos retrógrados. horás después hallé esta foto de Robert.

del fragmento entero habría que hablar, entre pausas fragmentadas, y mirarnos largo y despacio, de reojo, con toda la desconfianza que permita el tiempo.

5.24.2020

hairOtica

3.01.2020

DEcayedDAgUerrotypes::deudasYplagios

Portrait of unidentified persons... [between 1844 and 1860], by Mathew Brady's studio [nothing like a good rubbingOFF by time...]

2.06.2020

citrus × paradisi

Rehearsal to Ourselves
- Emily Dickinson

Rehearsal to Ourselves
Of a Withdrawn Delight —
Affords a Bliss like Murder —
Omnipotent — Acute —

We will not drop the Dirk —
Because We love the Wound
The Dirk Commemorate — Itself
Remind Us that we died.

Mi traducción... hay otras sueltas por ahí

Revivir en nosotros
deleites perdidos
garantiza el goce de matar
—con omnipotencia— agudo.

Y no se suelta la daga
porque se ama la herida,
la daga conmemora
en el recuerdo esa muerte.

7.22.2019

acércacti

3.30.2019

feMMeroLLs

"The powerful and alluring photographic assemblages of Sheree Hovsepian... are the result of multiple layers of photographic paper rolled, folded and wrapped in volumetric shapes. In her work, Hovsepian often combines black and white images of details of female body parts, drawings, as well as abstract photograms created in the dark room. The works are then covered with sheer natural, or black nylon which, stretching across the surface, further reference to the female body. ”These three works are the first by Hovsepian to enter the Guggenheim Collection..."

#WomensHistoryMonth __ Artworks from left to right: “Broken Column” (2017); “Horizon” (2017); “Aristotle’s Illusion” (2017) Purchased with funds contributed by the Young Collectors Council, 2017 #GuggenheimCollection #Guggenheim #ShereeHovsepian

11.19.2018

noShoW::kj

fotos: kenneth josephson

9.25.2018

gaGGEd

Mapplethorpe Show in Portugal Sparks Censorship Controversy: Curator Resigns, Open Letter Circulates, Artist's ...

ARTnews · 1 day ago

ah, la censura... esa maldad que nunca cesa... y heme aquí, censurada... yo, "creator of radical truth"... de nuevo, si algún admirador lector o alguien con ganas de joder tiene mis textos, robados, por favor devuélvalos...

supongamos que a veces la gente guarda cosas de internet para leer más tarde, o las copia... también en ese caso, por favor, agradecería que me los manden, los que tengan, sobre todo el último... aunque sea de manera anónima. no questions asked, palabra de honor.

es mi obra, digamos, y generosamente la comparto aquí. no hay necesidad de robarla. y si lo que desean es censurarme, comparándome al irreverente Robert Mapplethorpe, perennemente censurado, entonces les recuerdo que a mí nadie me va a callar ni metiéndome un látigo en el culo ni en la garganta... así que, dando y dando... cogiendo.

9.08.2018

DirtyLaundry

foto: Ray Metzker, Chicago, mid-20th century

I have learned that people will forget what you said, people will forget what you did, but people will never
forget how you made them feel.

-Maya Angelou

7.10.2018

strutturetubolari

@vimeo Wojciech Zamecznik - Photography in all its forms

VLADIMIR: We can still part, if you think it would be better.
ESTRAGON: It's not worthwhile now. (Silence.)
VLADIMIR: No, it's not worthwhile now. (Silence.)
ESTRAGON: Well, shall we go?
VLADIMIR: Yes, let's go. (They do not move.)

― Samuel Beckett, Waiting for Godot

10.23.2017

Vivian Maier: A Photographer's Life and Afterlife

Vivian Maier: A Photographer's Life and Afterlife, by Pamela Bannos
(University of Chicago Press, 2017)

Available @amazon

REVIEWS:

NY Times: Vivian Maier, Through a Clearer Lens

(image: NYT Print version: Revealing a Person in Place of the Pathology)

Author interview Video at Chicago Tonight, channel 11, PBS station

@Chicago Reader: "Bannos corrects errors that were introduced in the construction of the Vivian Maier myth—some by Maier herself, but others by those who shaped her story after her death. The most significant correction is her emphatic conclusion that Maier wasn't—as she's been widely perceived—a nanny with a photography hobby, but was, less mysteriously, the reverse: a serious photographer who supported herself by working as a nanny.

That's a major conceptual reversal, and Bannos told me in a brief interview last week that it was her impetus for writing the book. "I wanted to give her agency back," she said. For years now, she added, all we've heard about Maier, and all we've seen of her photographs is, "what the men who had her work were selecting."

Windy City Times: "She and her story have been defined by the men who acquired her stuff," Bannos said. "And she had no say in the way that she's been defined or her photographs have been characterized or produced or displayed and published and sold."

A new portrait of photographer Vivian Maier emerges in biography @ChicagoTribune

MORE: @shelfawareness / @bookforum / @publishersweekly / @foreverdog

8.31.2017

thePhotographerNoTheNanny

photo: V. Maier

... At the head of Bannos’s first chapter is a diagram showing the dispersal of Maier’s estate...

...The Maier industry had already been percolating for months before someone on a Web forum raised the question of legality—of who owned her work, and who was authorized to reproduce it...

..."In other words,” writes Bannos, “the estate was requesting that John Maloof and Jeffrey Goldstein provide copies of images from their collections so the public administrator could sue them for copyright infringement.” The reaction, at least among certain photo-world bloggers, followed the topsy-turvy logic of current American populism: that David Deal and by extension the state were “stealing” Maier’s work from the people, rather than the other way around.

Maloof and to a lesser extent Goldstein threw themselves into the project of creating Maier’s public profile—Maloof’s life changed radically as a result—but they were not exactly disinterested parties. The fact that Maier was still alive when the project began gives the case a certain ghoulish quality, for all that the timing was accidental and at least at first unknown to everyone involved. That she was a woman, and one who in many ways lived on the margins of society, adds further wrinkles to the case. That Maier had not made any arrangements for the disposal of her estate, that she did not edit her work to any serious extent, that she did not seem to value her images in quite the same way that most subsequent viewers have—all these raise ethical issues of various sizes.

But who would benefit if only the images she printed herself were allowed to circulate?...

from Camera Obscura, book review of Bannos' book at Bookforum

Vivian Maier:

A Photographer's Life and Afterlife

BY PAMELA BANNOS

UNIVERSITY OF CHICAGO PRESS

$35.00 List Price

For more info visit: Amazon • IndieBound • Barnes & Noble

7.11.2017

::cOMosinUnca::

"One with a flash begins, and ends in smoke;

Another out of smoke brings glorious light,

And (without raising expectations high)

Surprises us with dazzling miracles."
-Horace, Ars Poetica, V. 143

... necia diligencia errada
de quien borrar quiere con empeño
... afán caduco
de quien del olvido aún no es dueño...
... cadáver
inquieto del insomnio pedigüeño
... polvo
efímero libre sin límite ni diseño
... sombra
húmeda ceniza de cada sueño

y en nada...
se quema se consume
de lo vano impune
de la furia que se esfuma
se apaga y muere

en polvo. en sombra. en nada.

sorjuanAdulterada by om ulloa

6.21.2017

vivianOUTandABOUT

available October 6, 2017

preorder here @amazon Pamela Bannos: Vivian Maier: A Photographer’s Life and Afterlife

Who was Vivian Maier? Many people know her as the reclusive Chicago nanny who wandered the city for decades, constantly snapping photographs, which were unseen until they were discovered in a seemingly abandoned storage locker
...

But, as Pamela Bannos reveals in this meticulous and passionate biography, this story of the nanny savant has blinded us to Maier’s true achievements, as well as her intentions. Most important, Bannos argues, Maier was not a nanny who moonlighted as a photographer; she was a photographer who supported herself as a nanny.

In Vivian Maier: A Photographer’s Life and Afterlife, Bannos contrasts Maier’s life with the mythology that strangers—mostly the men who have profited from her work—have created around her absence. Bannos shows that Maier was extremely conscientious about how her work was developed, printed, and cropped, even though she also made a clear choice never to display it. She places Maier’s fierce passion for privacy alongside the recent spread of her work around the world, and she explains Maier’s careful adjustments of photographic technique, while explaining how the photographs have been misconstrued or misidentified.
...

This authoritative and engrossing biography shows that the real story of Vivian Maier, a true visionary artist, is even more compelling than the myth.

mural by Eduardo Kobra