images that haunt us
Robert Besanko:: Untitled (seated woman in skirt), 1976 / src: NSW
‘you are aware of what the image can become when you look at the subject. The signature is the lyrical line – the otherness – and the intimacy. I strive for the essence… but more as well. The eroticism is the humanity, if you do not deny it.’ (The Age, 2 August 1988)
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Velibor Božovic :: Collaboration with Aleksandar Hemon on The Lazarus Project (Riverhead, May 2008) / source: the-lazarus-project
She would one day die, and so would Rora, and so would I. They were me. We lived the same life: we would vanish into the same death. We were like everybody else, because there was nobody like us.
The thing is, everybody who has ever been photographed is either dead or will die.
Where can you go from nowhere except deeper into nowhere?
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La masturbación es una antología sexual, una selección de los mejores coitos (…) es económica porque no hay que invitar a comer a nadie, ni aguantar a los parientes de nadie, ni entender a nadie, ni compartir la cama con nadie, ni andar prometiendo pendejadas a nadie, la masturbación es una declaración silvestre de independencia.
Facundo CabralFot. Isa Marcelli
Tallulah Bankhead in
Lifeboat (1944), directed by Alfred Hitchcock.
‘Dying together is even ore personal than living together.’
Angelika Ejtel :: Self-portrait, Florida, October 23, 2016 / src: behance
“with foreheads leaning
voiceless
like a scream tent-pitched on a steel string
we greedily catch our breath
counting one… two… three…the world is just two stories tall
just two
pretty tiny
a world with stars circling
– – – – – – – – – – – – – –
why is dying so hard?”
inspired by the poem “Dissonance” of Halina Poświatowska (excerpt)
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Karl Blossfeldt (1865-1932) was a German instructor of sculpture and a self-taught photographer, who used his photographs of plant studies to educate his students about design elements in nature.
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“The plant never lapses into mere arid functionalism; it fashions and shapes according to logic and suitability, and with its primeval force compels everything to attain the highest artistic form.” source: TEG
Oskar Schlemmer holding a mask, 1930
‘My themes – the human figure in space, its moving and stationary functions, sitting, lying, walking, standing – are as simple as they are universally valid,’ he once said of his work. ‘They are inexhaustible’
With the rise of the Nazis in the early 30′s, Schlemmer was edged out of a teaching post in Berlin. His work was included in the infamous exhibition of ‘degenerate art’ in 1937. He then worked in secret in a factory in Wuppertal until his death in 1943
Dorothea Lange atop automobile in California, 1936. The car is a 1933 Ford Model C, 4 door Wagon. The camera is a Graflex 5×7 Series D.
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Lizbeth Scott and Raymond Burr in Pitfall (Andre De Toth, 1948)
“She probably doesn’t appeal to you, but for me she’s just what I told the doctor to order.” / via
wehadfacesthen / source: IMDb
un regard oblique 