//aquatictigerparty*
//aquatictigerparty*
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samanthaconlonart:

some more installation shots.
samanthaconlonart:

some more installation shots.
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5centsapound:

Carrie Mae Weems: The Kitchen Table Series (1990)
5centsapound:

Carrie Mae Weems: The Kitchen Table Series (1990)
5centsapound:

Carrie Mae Weems: The Kitchen Table Series (1990)
5centsapound:

Carrie Mae Weems: The Kitchen Table Series (1990)
5centsapound:

Carrie Mae Weems: The Kitchen Table Series (1990)
5centsapound:

Carrie Mae Weems: The Kitchen Table Series (1990)
5centsapound:

Carrie Mae Weems: The Kitchen Table Series (1990)
5centsapound:

Carrie Mae Weems: The Kitchen Table Series (1990)
5centsapound:

Carrie Mae Weems: The Kitchen Table Series (1990)
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packetbiweekly:

Francesca Tallone in Issue #033

:-)
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scopioeditorialline:

ELISE BOULARAN: THE ONES WE LOVE
work in progress
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greatleapsideways:

"Yet despite its so-called transparency, Evans’s classic style of the ’30s is only as passive as the manner of the interrogator who lets silence do his work. It is, again, inquisitional. By declining to beautify or dramatize, each of Evans’s best photographs forces its subject to speak for itself, even to talk too much, until its vulgarity, pathos, tawdriness, hysteria–whatever its essential qualities are begin to yell from the page."
— Leo Rubinfien “The Poetry of Plain Seeing” in Art in America, Dec 2000.
Photographs (in order): Interior Detail of a Portuguese House (1930), by Walker Evans; Rough Study for a Double Portrait (2009) by Lucas Blalock; No Vacancy (2012) by Lucas Blalock; Gothic Gate Cottage near Poughkeepsie (1931) by Walker Evans.
greatleapsideways:

"Yet despite its so-called transparency, Evans’s classic style of the ’30s is only as passive as the manner of the interrogator who lets silence do his work. It is, again, inquisitional. By declining to beautify or dramatize, each of Evans’s best photographs forces its subject to speak for itself, even to talk too much, until its vulgarity, pathos, tawdriness, hysteria–whatever its essential qualities are begin to yell from the page."
— Leo Rubinfien “The Poetry of Plain Seeing” in Art in America, Dec 2000.
Photographs (in order): Interior Detail of a Portuguese House (1930), by Walker Evans; Rough Study for a Double Portrait (2009) by Lucas Blalock; No Vacancy (2012) by Lucas Blalock; Gothic Gate Cottage near Poughkeepsie (1931) by Walker Evans.
greatleapsideways:

"Yet despite its so-called transparency, Evans’s classic style of the ’30s is only as passive as the manner of the interrogator who lets silence do his work. It is, again, inquisitional. By declining to beautify or dramatize, each of Evans’s best photographs forces its subject to speak for itself, even to talk too much, until its vulgarity, pathos, tawdriness, hysteria–whatever its essential qualities are begin to yell from the page."
— Leo Rubinfien “The Poetry of Plain Seeing” in Art in America, Dec 2000.
Photographs (in order): Interior Detail of a Portuguese House (1930), by Walker Evans; Rough Study for a Double Portrait (2009) by Lucas Blalock; No Vacancy (2012) by Lucas Blalock; Gothic Gate Cottage near Poughkeepsie (1931) by Walker Evans.
greatleapsideways:

"Yet despite its so-called transparency, Evans’s classic style of the ’30s is only as passive as the manner of the interrogator who lets silence do his work. It is, again, inquisitional. By declining to beautify or dramatize, each of Evans’s best photographs forces its subject to speak for itself, even to talk too much, until its vulgarity, pathos, tawdriness, hysteria–whatever its essential qualities are begin to yell from the page."
— Leo Rubinfien “The Poetry of Plain Seeing” in Art in America, Dec 2000.
Photographs (in order): Interior Detail of a Portuguese House (1930), by Walker Evans; Rough Study for a Double Portrait (2009) by Lucas Blalock; No Vacancy (2012) by Lucas Blalock; Gothic Gate Cottage near Poughkeepsie (1931) by Walker Evans.
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mranai:

.

This is great.
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vapfoto:

Ian. NYC 2014. 

Big Sexy over here
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"FOAM Magazine really has become more like a book now. Anyone seriously interested in photography will find it increasingly hard not to have a subscription."
Conscientious Redux: Foam #38 ‘Under Construction’ - Making the case for New Formalism