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The Legendary Collection Polaroid 18. 8. 2012 The Finnish Museum of Photography, Cable Factory, Helsinki, Finland

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A “To Polaroid with Love” exhibition includes all forms of polaroid process and materials

(Photographers include Mary Ellen Mark, Jan Hnizdo, Nelli Palomäki) The Legendary Collection Polaroid 18. 8. 2012 The Finnish Museum of Photography, Cable Factory, Helsinki, Finland

the polaroid in Finland

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Vic Sightings Victoria based skate photographers and videographers at the fifty fifty 2516 Douglas St. Victoria BC

Vic Sightings celebrates the local skate culture’s identity and displays the great work that people are making here. The project organizers are interested in showcasing Victoria and how street skating exploits the city landscape and re-shapes the architecture. The work of the artists in the exhibition will give face to the sites, skaters, equipment and techniques used to make their art.

Skateboarders flow through the streets, alleys, parking lots-finding spots-grinding rails, jumping stair sets, executing kickflips, hardflips and other forms of urban shreddery. It is a wood-wheels-turning-systems of movements mixed with a skater’s personal style. Technically, photographer and skater harmonize their skills to achieve the perfect trick/photo combo.

http://vicsightings.tumblr.com/

photographer jay zee http://www.flickr.com/photos/jayzemanek/

photographer matt macleod http://www.flickr.com/photos/matthewmacleod/

photographer luke connor http://www.flickr.com/photos/60515360@N08/

Vic Sightings co-ordinated by Doug Jarvis and Brenda Petays

Faith — is the Pierless Bridge

Supporting what We see

Unto the Scene that We do not —

Too slender for the eye

It bears the Soul as bold

As it were rocked in Steel

With Arms of Steel at either side —

It joins — behind the Veil

To what, could We presume

The Bridge would cease to be

To Our far, vacillating Feet

A first Necessity.

 

 Emily Dickinson

Poem: 915. Faith — is the Pierless Bridge

 

urban outfitting in Victoria

She knocked me out with her old school art patron look, kept expecting her to get rowdy.

clothes are like metaphysics: imaginary

bags echo bodies

the advance platoon for the field hospital

To dream that all your clothes in the closet are white, suggests that you need to lighten up. You may have recently been feeling a little depressed. Perhaps you are going through some crisis. It is time to move on. and change your attitude. You need to better get a grip of your inner emotions.

...or dream about The Man in White

What's your shirt? House of Sasquatch

I'm going to catch a hundred butterflies, some blue but mostly red, because they remind me of you.

Always tearin' what I'm wearin' - It's Tricky

moustache love

I want to pick up the pieces of you and glue them back together.

Dad, I still hate you.

Tie-Dye Skater Kicks

aight so you got the thing wrong man… they are not ONLY made to skate either, i dont use them to skate, but i heard theyre good shoes to skate in. ...

I ride my bike, I roller skate, don't drive no car Don't go too fast, but I go pretty far

Hannah Höch, self-portrait, c.1930

Dear Hannah Höch,

Today in HA 262 we considered your practice of photomontage in the early 1920s and 30s. I am writing to let you know the impact your work has had on contemporary culture. Photomontage – let’s break it down, a photo of course, meaning the material you used: photographic fragments from mass media, newspaper clippings, trade journals, fashion and popular magazines, and then montage, meaning how you cut up and engineered photographs into new ways of seeing your world, technology and social structures. Hannah, you challenged the status quo message of Wiemar Germany and Nazi-controlled media with your ironic and discomforting photomontages. If people can’t read that now its because we have lost the immediate context of faces and names who no doubt were as notorious in your era as the governator is in ours.

Hannah Höch, Dada Panorama, 1919, Photomontage with Gouache and watercolor

media/source material in Hannah Höch's Dada Panorama

You recognized mass produced material for what it was, raw data and then you manipulated the photographic space and distorted the realism of the photographic form. Today this process and play with media is called “a mash-up” – a cut and paste of parts of a text, image, audio, video or animation is remixed and recombined into a new work; a.k.a assemblage, appropriation, pastiche, intertextuality, sample, found art and tent city. New builds on old.

Hannah Höch, Tamer, 1930, photomontage with collage

Here is a short list of artists your montage methods have influenced, starting with your contemporaries: Meret Oppenheim, Tristan Tzara, Man Ray, Max Ernst and Walter Benjamin…then William Burroughs, Joseph Cornell, Pauline Oliveros, Robert Rauschenberg, Andy Warhol and Martha Rosler in the 50s & 60s; Dara Birnbaum, Sherrie Levine, Barbara Kruger and Cindy Sherman in the 80s. In the new millennium sculpture installation artist Brian Jungen reworks materials, Nike shoes and refuse bins but without concealing the objects’ original meaning. Sound installation artist Janet Cardiff records walks on city streets that are re-walked by a listener wearing headphones. Graffiti artists Bansky, Swoon and Shepard Fairey have cut out the art gallery and paste images directly in the street. All of us have vast networks of file exchange that take copy, remix, reuse culture to a pervasive level; .mp3, .wma, .oog, .wav, .mov, .jpeg files can be endlessly mapped on top of one another, reconfigured and replayed.

Hannah Höch, When Fragrances Bloom, 1962, photomontage on cardboard

media/source material for Hannah Höch's photomontage When Fragrances Bloom

Hannah you realized that media is thought and thoughts are media. Your time, 1889-1978, was your context but your work has a reference status in the future. I am glad you kept pace with all those manly men in the DADA group.

Thank you,

“And our faces, my heart, brief as photos” [1]


[1] Berger, John. And Our Faces, My Heart, Brief as Photos. First Vintage International Edition, 1991. New York. Copyright 1984. John Berger. p.5

READ: The Photomontages of Hannah Höch. Makela and Boswell.Walker Art Center. 1997 and Women Seeing Women. Introduction by Naomi Rosenblum.W.W. Norton&co. 2001