It’s not news that taking pictures can get you threatened and arrested, but a lawsuit filed this month by the American Civil Liberties Union sheds further light on just how pervasive the government’s paranoia over photography has become.
GUSH hands. The Current Sea, 2014.
More fun with the GUSH web app by @adamferriss. http://bit.ly/1nu1n1W
Debra Barrera, Poof (The Wonderful Wizard of Oz, 1910), 2014. Graphite and oil pencil on paper, 11 5/8 x 11 3/16 inches. Courtesy of the artist and Moody Gallery, Houston, Texas.
See the work in CAMH’s upcoming exhibition Right Here, Right Now this Fall.
Camelandscape, 2010 is the Picture of the Month for July 2014.
Each month, I upload a new digital file of a picture for you to print each month as a gift.
The images will only be available as high resolution downloads for the month they are released.
Take a picture of your print and I will post it. See the archive here.
When someone lies on the studio floor and sings at a microphone five feet away, Eno is in the air. When a band records three hours of improvisation and then loops a four-second excerpt of the audiotape and scraps the rest, Eno has a hand on the razor blade. When everybody except for the engineer is told to go home, Eno remains. Behind Eno stand John Cage, Marcel Duchamp, and Erik Satie, but those guys didn’t make pop records.
Sasha Frere-Jones on Brian Eno’s musical career: http://nyr.kr/1qzFAgx(via newyorker)
Given just the right optical conditions, a mountain can appear to hover above the Earth. Photographer Mike Osborne sought to capture that effect, and other fascinations of the landscape of the Great Basin Desert between Utah and Nevada, where the real world becomes alien.
Failure parties in your storage unit, burning money.
A humorous commencement speech for the “Class of Some Time Ago”: http://nyr.kr/1l7EQf3
“Never forget, Class of Pre-Napster, you have commenced. While time is not on our side, some of us have money and power. So do the things that make new graduates jealous: see the non-hostel side of Europe, adorn your walls with lavish custom frames and, last, don’t hire any graduates. That way, they’ll begin to understand that failure isn’t something you embrace; failure sucker punches you like a playground bully. Failure parties in your storage unit, burning money.”
Photograph by Eric Feferberg/AFP/Getty.
Every age has a theory of rising and falling, of growth and decay, of bloom and wilt: a theory of nature. Every age also has a theory about the past and the present, of what was and what is, a notion of time: a theory of history. Theories of history used to be supernatural: the divine ruled time; the hand of God, a special providence, lay behind the fall of each sparrow. If the present differed from the past, it was usually worse: supernatural theories of history tend to involve decline, a fall from grace, the loss of God’s favor, corruption. Beginning in the eighteenth century, as the intellectual historian Dorothy Ross once pointed out, theories of history became secular; then they started something new—historicism, the idea “that all events in historical time can be explained by prior events in historical time.” Things began looking up. First, there was that, then there was this, and this is better than that. The eighteenth century embraced the idea of progress; the nineteenth century had evolution; the twentieth century had growth and then innovation. Our era has disruption, which, despite its futurism, is atavistic. It’s a theory of history founded on a profound anxiety about financial collapse, an apocalyptic fear of global devastation, and shaky evidence.
I’ve been cloudy for six months. This New Yorker article by Jill Lepore is the first thing I’ve encountered that cut through all that, and maybe it’s not just my own haziness it’s counteracting.
I’m still too dopey to really make it all the way through this essay with a careful eye. And maybe it’s just cause I’ve been so flattened for a while, but I don’t remember anyone else writing about tech, business, or most anything else, with the same beauty and precision.
I first came across Jill Lepore’s writing when researching luck — she’d written a lot about the original Game of Life. But this, reading this, after sharing Clayton Christensen’s private plane from Canada a few months ago, made me feel like she’s looking under rocks that other people have mistaken for monuments. And man, wait until you see what’s under those.
image: Erin O’Keefe, Much Ado, 2014, inkjet print, 36 x 24 inches
We are pleased to announce Frameshift, an exhibition at Denny Gallery, featuring work from:
Frameshift is an investigation into practices that visualize linguistic edits to the technical language of the photographic image while compressing multiple histories of image making and vision technology. Images and full information can be seen here.
We hope you join us for the opening on Thursday, June 12, from 6 - 8PM.
Denny Gallery is located at 261 Broome Street, New York. Frameshift will be on view until July 20, 2014. Visit the gallery webpage for hours and more information.