“Berlin, 1931” “It’s a thing that comes through your system little by little, it’s not sudden. It can be sudden..you have to live there, you have to know people, you have to establish relations, you have to be on the same level with people. You can’t come as a judge and uh, you have to get close to people, you have to be warm. You have to like people. You mustn’t be cruel, you mustn’t be hard, you mustn’t be tough, because it bounces back on yourself. You can express all that you feel, you can be shocked, you can be humorous, you can be less tender, all the sentiments you can express.” — Henri Cartier-Bresson Copyright Henri Cartier-Bresson

“Berlin, 1931”

“It’s a thing that comes through your system little by little, it’s not sudden. It can be sudden..you have to live there, you have to know people, you have to establish relations, you have to be on the same level with people. You can’t come as a judge and uh, you have to get close to people, you have to be warm. You have to like people. You mustn’t be cruel, you mustn’t be hard, you mustn’t be tough, because it bounces back on yourself. You can express all that you feel, you can be shocked, you can be humorous, you can be less tender, all the sentiments you can express.” — Henri Cartier-Bresson

Copyright Henri Cartier-Bresson




[Flash 9 is required to listen to audio.]

magnificentruin:

Einstürzende Neubauten
Godzilla In Mitte

(Architektur Ist Geiselnahme
instrumental track) 

These guys are always an automatic reblog. (And Mitte is totally the neighborhood that Godzilla would demolish!)



» http://soundcloud.com/okayafrica/africa-in-your-earbuds-7/

Last tip for today — ?uestlove recommended this mix of contemporary African pop music a few weeks ago and I’ve been listening to it nonstop ever since. It’s the perfect pick-me-up for cold days and spiritually draining situations.




kateoplis: Labyrinth in my Atelier, 1960, by Josef Sudek, bookbinder turned photographer after losing an arm in WWl 

kateoplis:

Labyrinth in my Atelier, 1960, by Josef Sudek, bookbinder turned photographer after losing an arm in WWl 



“Public Transit Areas, Ocean and Pacific Avenue, Looking East” (Long Beach, CA, 1975) “Some people ask, “What’s so important or compelling about taking pictures of such unpleasant subjects like city dwellers?” … My work may be beautiful or it might not be, that just isn’t what I am concerned with. I try to be open and face the city… . To me it’s not unpleasant or unbeautiful, it’s just life—which has to be threatening sometimes if it is going to be interesting.” —Anthony Hernandez Copyright Anthony Hernandez

“Public Transit Areas, Ocean and Pacific Avenue, Looking East” (Long Beach, CA, 1975)

“Some people ask, “What’s so important or compelling about taking pictures of such unpleasant subjects like city dwellers?” … My work may be beautiful or it might not be, that just isn’t what I am concerned with. I try to be open and face the city… . To me it’s not unpleasant or unbeautiful, it’s just life—which has to be threatening sometimes if it is going to be interesting.”
—Anthony Hernandez

Copyright Anthony Hernandez




artlistpro: Hans-Peter Feldmann, All the Clothes of a Woman http://www.nytimes.com/2011/06/03/arts/design/hans-peter-feldmann-at-the-guggenheim-review.html?_r=1 via delightfullycatawampus:

artlistpro:

Hans-Peter Feldmann, All the Clothes of a Woman

http://www.nytimes.com/2011/06/03/arts/design/hans-peter-feldmann-at-the-guggenheim-review.html?_r=1

via delightfullycatawampus:



“Walter Benjamin at the National Library, Paris” Last week I was in Paris. I thought I’d pay homage to some of the city’s famous inhabitants by going to see the Gisele Freund exhibit at the YSL foundation. Admittedly, I don’t much like Freund’s work — I know that’s blasphemous, but there it is. She’s a bit too worshipful of her subjects for my taste, a bit too entranced by being part of the crowd of artistes she photographed. That said, I don’t really blame her. Paris at the time was full of all the creative people one could ever hope to meet. Now, of course, the creative city has shifted to Berlin, Freund’s hometown and the city in which I now live, and I suppose that was the more interesting aspect of the exhibit to me. For Freund to be part of the crowd she had to move to Paris. Now anyone who wants to be part of the crowd has to move to Berlin. What’s the importance of a city to one’s artistic output? How much does where we live matter? How on earth did Berlin capture Paris’ energy (it sure wasn’t because of the food or the weather) and how long will it last? Copyright Gisele Freund

“Walter Benjamin at the National Library, Paris”

Last week I was in Paris. I thought I’d pay homage to some of the city’s famous inhabitants by going to see the Gisele Freund exhibit at the YSL foundation.

Admittedly, I don’t much like Freund’s work — I know that’s blasphemous, but there it is. She’s a bit too worshipful of her subjects for my taste, a bit too entranced by being part of the crowd of artistes she photographed. That said, I don’t really blame her. Paris at the time was full of all the creative people one could ever hope to meet.

Now, of course, the creative city has shifted to Berlin, Freund’s hometown and the city in which I now live, and I suppose that was the more interesting aspect of the exhibit to me. For Freund to be part of the crowd she had to move to Paris. Now anyone who wants to be part of the crowd has to move to Berlin. What’s the importance of a city to one’s artistic output? How much does where we live matter? How on earth did Berlin capture Paris’ energy (it sure wasn’t because of the food or the weather) and how long will it last?

Copyright Gisele Freund




kvetchlandia: Eve Arnold     Joan Crawford, Los Angeles    1959 Eve Arnold   1912-2012  Ave atque Vale

kvetchlandia:

Eve Arnold     Joan Crawford, Los Angeles    1959

Eve Arnold   1912-2012  Ave atque Vale



crashinglybeautiful: Vivian Maier, Self-Portrait (Shadow on Wood) ca. 1960s, Steven Kasher Gallery with thanks to Woods Lot. What makes Maier unique is that her pictures were made for no one, not even herself. They weren’t printed at all. They are pure witness. She records but never plays back. Her pictures have no intention but to represent what her curiosity and her feelings demand. That demand must have been pressing indeed, to generate so much meticulous work. Could blog and reblog her all day, every day….

crashinglybeautiful:

Vivian Maier, Self-Portrait (Shadow on Wood) ca. 1960s, Steven Kasher Gallery with thanks to Woods Lot.

What makes Maier unique is that her pictures were made for no one, not even herself. They weren’t printed at all. They are pure witness. She records but never plays back. Her pictures have no intention but to represent what her curiosity and her feelings demand. That demand must have been pressing indeed, to generate so much meticulous work.

Could blog and reblog her all day, every day….



R.I.P. to one of Magnum’s first female photographers, Eve Arnold. Read more about her life (it was quite a life) here. Copyright Eve Arnold

R.I.P. to one of Magnum’s first female photographers, Eve Arnold. Read more about her life (it was quite a life) here.

Copyright Eve Arnold




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