samuel peploe

samuel peploe

09/19/14
samuel peploe

samuel peploe

09/19/14
leslie hunter
09/19/14
leslie hunter
[chill name, don’t sleep on the scottish colourists]

leslie hunter

[chill name, don’t sleep on the scottish colourists]

09/19/14

exhibit A for when i say social practice in art mostly blows.

09/19/14

greatleapsideways:

In Anansi or Ivy, supine black bodies fuse together into sculptural oddities that are borne out of a soluble relation to the earth. And yet a certain ironic dissonance is produced by the whiteness of a shirt in shadow, or the presence of England’s Three Lions on a pair of shorts. The antinomies of blackness and whiteness, of the earthly and the intellectual, the savage and the saviour, are here overt structuring elements of the image. But such tensions as these contrasts evoke do not trouble a long history of ethnic degradation – they reinforce it as a further instance of the theatrical acquiescence we have come to expect from subservient, primitive blacks. (…)

Sassen claims to “focus on the process of addressing the viewer,” arguing that her portraits are “about the gaze of the viewer and about my own perspective” as opposed to “some truth about the photographed subject.”

We are thus invited to consider the extent to which these images, in their repetitive subjugation of nubile black bodies, might expand our sense of ourselves or of the photographer’s perspective – that is, we are invited to consider ‘Africa’ as an expression of the West. On this logic, Africa’s representational function is purely to mirror the pressing nature of largely western preoccupations. And so the bodies in these images exist purely to serve.”

— The Stilled Life of the Pikinini: Viviane Sassen’s Pikin Slee, just published at thegreatleapsideways.com

wait, wait, wait. can we really get into this though? like, why are people afraid to talk about this? i know sassen is like a photography deity to some people at this point but did she just basically say that because she is addressing white gaze that she can be excused from it? is she saying that because she is more self-reflexive than other white photographers she can still produce these images with impunity? i would love to hear what the people in sassen’s prints and books say after they hear the line” “…so the bodies in these images exist purely to serve.” sassen, no one needs you as a ‘protecter,’ no one needs you to “withdrawing him and her from the potential gaze of the viewer…”

"I show them things they think they know or they don’t understand (like the paint) and in that way [my photographs] indirectly provoke questions about our Western view of the ethnic ‘Other’, which is often a very limited view.” what the fuck?! what wouldn’t they know about paint that you do?! YOU are a very limited view. i could go line for line, but i’m tired. i would love to discuss further because jeez, the more i read about how sassen talks about her work, the more i grow to loathe it.

09/19/14

From May 1979 to January of 1987, the East Village Eye, a monthly magazine of popular and avant garde culture, exerted a profound influence that eventually reached across the entire world. Coverage in the Eye resulted in development of several key “scenes” that eventually evolved into movements felt all over the planet. Some credit the Eye with creating the East Village art scene, which nurtured legendary talents such as Keith Haring and David Wojnarowicz, while the Eye’s coverage of other emerging New York artists such as Sue Coe, Barbara Kruger and Kiki Smith helped illuminate the psychosocial conflicts running through the contemporary brain. Many such artists made work specifically for publication in the Eye.When hip hop started to emerge from the ghettoes of New York, the Eye was there with early stories on historical figures like Afrikaa Bambaataa, Fab Five Freddy, Futura 2000, Run DMC, the Rock Steady Crew and many others. How early? The East Village Eye was the first publication ever to print the words “hip hop”.
The mini-symposium entitled “How Hip Hop Came Downtown”, September 18 from 6pm at Printed Matter in New York, will cover the process in which members of New York’s media and fine art communities brought rap music, graffiti art and breakdancing from the inner-city ghettos to a wider audience that has since spread across the world. Leading this discussion will be Eye publisher/editor Leonard Abrams, scholar Yazmin Ramirez, musician and multimedia artist Michael Holman, and the celebrated artist and media figure Fab 5 Freddy. Plus special guest appearances! [via]

[<3 <3 this event should be at a school or museum. it is too real for something as bloated as Printed Matter is now. i know it can be a bit sacrilegious to say ill about P.M., but i think this event and publication needs a better platform.]

From May 1979 to January of 1987, the East Village Eye, a monthly magazine of popular and avant garde culture, exerted a profound influence that eventually reached across the entire world. Coverage in the Eye resulted in development of several key “scenes” that eventually evolved into movements felt all over the planet. Some credit the Eye with creating the East Village art scene, which nurtured legendary talents such as Keith Haring and David Wojnarowicz, while the Eye’s coverage of other emerging New York artists such as Sue Coe, Barbara Kruger and Kiki Smith helped illuminate the psychosocial conflicts running through the contemporary brain. Many such artists made work specifically for publication in the Eye.
When hip hop started to emerge from the ghettoes of New York, the Eye was there with early stories on historical figures like Afrikaa Bambaataa, Fab Five Freddy, Futura 2000, Run DMC, the Rock Steady Crew and many others. How early? The East Village Eye was the first publication ever to print the words “hip hop”.

The mini-symposium entitled “How Hip Hop Came Downtown”, September 18 from 6pm at Printed Matter in New York, will cover the process in which members of New York’s media and fine art communities brought rap music, graffiti art and breakdancing from the inner-city ghettos to a wider audience that has since spread across the world. Leading this discussion will be Eye publisher/editor Leonard Abrams, scholar Yazmin Ramirez, musician and multimedia artist Michael Holman, and the celebrated artist and media figure Fab 5 Freddy. Plus special guest appearances! [via]

[<3 <3 this event should be at a school or museum. it is too real for something as bloated as Printed Matter is now. i know it can be a bit sacrilegious to say ill about P.M., but i think this event and publication needs a better platform.]

09/18/14
italocontador:

"Vista de Toledo (según El Greco) óleo sobre tela. 60 x 50 cms. 2008 por Italo Contador http://badsequencer.wix.com/italocontador

italocontador:

"Vista de Toledo (según El Greco) óleo sobre tela. 60 x 50 cms. 2008 por Italo Contador
http://badsequencer.wix.com/italocontador

09/18/14
jackharries:

Daido Moriyama: “FAREWELL PHOTOGRAPHY” (1972)

~farewell~

jackharries:

Daido Moriyama: “FAREWELL PHOTOGRAPHY” (1972)

~farewell~

09/18/14

+/-

all about Ultraviolet’s Jenny Holzer-esque plane protests at NFL games. i love sky messages a lot. too much. also, where are all the good politically charged hackers who aren’t associated with Anonymous? where are the good hacker rogues? we need like some hacker Batmans without all the daddy issues. haha also, think about being the DP for a post-interent propaganda film? damn. also, this article and project is gross. looked her up… WHITE GAZE, GET OUT OF MY FACE. i don’t care and no one should care how long you were there for. i don’t care how skilled you are with a camera. people, please think before you start projects like this.

09/18/14