Jack Harries
sickpage:

Jordi Huisman

hardworkersclub: If you have a spare 10minutes I highly recommend watching this. Tom Gould on the money with this one. A great insight into a NZ gang member.

tomgouldshoots: Proud to release my short film ‘Skin’, documenting the life of Martyka Brandt. Gang member, champion racecar driver and devoted solo father. Filmed in Napier, New Zealand.

mpdrolet:

Jason Penner
Mike Mandel’s - The Baseball Photographer Trading Cards, 1975 – John Divola. 
Mike Mandel’s - The Baseball Photographer Trading Cards, 1975 – John Divola. 

INTERVIEW: “Interview with John Divola” (1978)

Q. But, in a sense, photography has a completely different vision, because it is not object oriented as much and it becomes a window for something else.

A. Well, that’s one thing it is. It is an object. It is an illusionistic depth. And, I guess the number one realm in which photography seems to function is that it has a claimed authenticity. The light bounces off the subject and passes through the lense and burns the negative. And the light passes through the negative and makes the print. So the print is linked to the event by a chain of physical causalities. It’s like a piece of reality, rather than purely a document. It has that claim of fidelity to its source, which is the reason they take pictures on the moon instead of making paintings on the moon.

Q. When you were at SPE, you talked in a way that sounded as if you were doing your photographs very off-handedly, but now I am hearing that you really have a lot of thinking behind them.

A. Well, yes, I’ve thought a lot about them, but there must be a distinction from the fact that they aren’t illustrations for thoughts. The thoughts don’t come first. I do the work and then being in situations like SPE and being in a situation like this, people asking you to write things down, then you evolve a philosophy that fits the evidence and to what degree that has direct relationship to the work, is always questionable. It’s questionable to me. I have certain kinds of ideas and I recognize cer tain things in the work, but I’ve always got to admit that all of those ideas are at least articulated past the fact of making the work, and the work is born out of a more spontaneous interaction with those elements.

Dinah Portner questions John Divola on his Zuma series. Good read. 

Source - American Suburb X.

bofransson:

House on the Shore
Edward Hopper - 1924
Roger Ballen.
backfromspace:

Dusk in Coober Pedy, South Australia, 1978, by Wim Wenders
team-useless:

la-beaute—de-pandore:

Philip-Lorca diCorcia
Zuma Series (folder one) - John Divola, 1977