I don’t even like cars especially, but I can relate to these two photographic projekts about them. The first one is a series „Vector Portraits“ (1989-1997) by Andrew Bush, who took shots of people driving in their cars by 50 to 75 mph around Los Angeles. Maybe the relation of the owners to their vehicles is so catching.
Photograph above © Andrew Bush, „66 Drives“ (mehr …)
Big exhibiton in Leipzig from 27th of February until the 15th of May 2011 covering german photography from 1839 onwards from 190 photographers including Joachim Brohm, Andreas Gursky, Boris Michailov, Timm Rautert and Heidi Specker.
Photographer Chris McCaw uses a huge self built 20×24″ camera to actually burn the sun`s path into vintage photographic paper. He starts before sunrise, takes off the cap of his old, radioactive lens that was used in the 60ties for military aerial purposes and leaves the camera open for a few hours. The surface of the old paper gets burned and turns negative (solarization) because it consists of a higher percentage of silver than new materials.
Photograph above © Chris McCaw
→ www.chrismccaw.com
→ www.chrismccaw.com/SUNBURN/SUNBURN.html
There’s a discussion going on in Germany about „Google Street View“ and the violation of privacy rights and I still wonder what the german and international laws say exactly to that matter. What are you allowed to take pictures of and what not? (mehr …)
Interview mit David Hockney
http://www.spiegel.de/kultur/gesellschaft/0,1518,389005,00.html
„Fotografie ist ganz gut. Aber nicht gut genug. Viele Jahrzehnte lang haben wir gelernt, so zu schauen, als seien wir eine Kamera. Weil wir auf die Wirklichkeit nur noch mit Kamera, Digitalkamera und Handykamera schauen, fangen wir an, wie eine Kamera zu schauen. Wir sehen nur noch Bilder, die aussehen, wie die Bilder, die wir von diesen Fotografien kennen. Mit diesen Lichteffekten, diesen Schatten, diesen Eigentümlichkeiten. Ich glaube, wir müssen neu lernen zu schauen, zu sehen, wie die Wirklichkeit ist. Wir müssen lernen, die Spiegelreflexkamera in unseren Augen zu überwinden. Ich habe in den letzten Jahren versucht, meine Augen wieder neu zu trainieren – und nicht zu schauen wie eine Kamera. Glauben Sie mir, das ist verdammt schwer.“
Das Interview führten Amelie von Heydebreck und Florian Illies. SPIEGEL ONLINE hat den Text mit freundlicher Genehmigung des Kunstmagazins „Monopol“ übernommen.
Everytime I’m losing contact with contemporary Hip-Hop it pulls me back in again. After breakdancing like a clown to Old-School Hip-Hop and Electro there was a guy ten years later who gave me a tape with music by A tribe called quest’s „Low end theory“ to get me started again. Now Dubstep has done it again, combining Dub, Hip-Hop and Electro, exploding now in many different directions.
Skweee is a new music-genre by itself combining compressed digital Funk, Electro, Hip-Hop and Dubstep with Eighties Disco Flavor. People like Eero Johannes, Daniel Savio and Mesak are only a few among a lot interesting projects from Sweden, Finland und Norway. For a beginners guide, check out my mix from weeks ago or buy the new compilation „International Skweee Vol. 2″ or „Skweee Tooth“ as long as it’s available. (mehr …)
I like almost still videos, it’s like adding an other dimension to a photographic portrait, streching the act of taking a picture in time. „L’Enfer“ by Henri-Georges Clouzot is a never finished psychedelic experiment in lighting and movie techniques literally starring a wonderful Romy Schneider.
A familiar project is the first officially published DVD by Andy Warhol „13 Most Beautiful… Songs for Andy Warhol’s Screen Tests“. You can watch Lou Reed drinking a coke and some girl toothbrushing. Warhol shot around 500 portraits and the original material was around two minutes each and was stretched to five minutes in slow motion. (mehr …)