Tag: Photography

We Are All Animals

Posted by – April 11, 2011

 

 

 

 

 

 

Long before I was a cat lady, I was a dog person. And I still am. I grew up with dogs, I empathize with dogs: I love dogs so strongly and deeply that some people can’t understand it. But I do. I’d do anything to save one, to rescue one from an abusive owner or to make sure that it was safe and well-fed. In fact, I can’t even read or watch even the most casual story about animal cruelty because it upsets me so, so much.

And that’s where Martin Usborne’s “MUTE: The Silence of Dogs in Cars” comes in. Far from portraying abusive situations, he wished to observe the emotions that dogs feel upon being left in the car. An hour or a minute, the dog has no idea when its beloved owner is returning, and this brings out a lot of potential angst, insecurity, sadness and anger. I was really moved by the results (especially knowing that these were fictional situations). Here he explains the thoughts behind his project.

I was once left in a car at a young age.

I don’t know when or where or for how long, probably for fifteen minutes only. The details don’t matter.  The point is that I wondered if anyone would come back. It seems trivial now, but in a child’s mind it is possible to be alone forever.

Around the same age I began to feel a deep affinity with animals — in particular their plight at the hands of humans. I remember watching TV and seeing footage of a dog being put in a plastic bag and being kicked. What appalled me most was that the dog could not speak back. Its muteness terrified me.

The images in this series explore that feeling, both in relation to myself and to animals in general. The camera is the perfect tool for capturing a sense of silence and longing: the shutter freezes the subject for ever. The dog is truly trapped.

When I started this project I knew the photos would be dark. What I didn’t expect was to see so many subtle reactions by the dogs: some sad, some expectant, some angry, some dejected. It was as if upon opening up a box of grey-coloured pencils I was surprised to see so many shades inside.

[Sent to me by my lovely friend Diana.]

Yolk

Posted by – December 22, 2010

“I like women who stub their lipstick smeared cigarettes out in uneaten fried eggs,” Miles Aldridge writes. “There’s something attractive about this kind of vile gesture… or is it just me?”

Striking, right? I’m pretty into the photos that accompany fiction in the New Yorker (my favorite subway read). Jessie Wender posted her top ten photographs, with quotes from the artists, that didn’t make it into an issue this year. This beauty is one on the list. Check out the slideshow here.

Pink Light

Posted by – September 26, 2010

Kim Holtermand’s Tuve is a vision. Who knew rocks could be so breathtaking? And those silhouetted trees…

[Via Neon Polish]

Must See Exhibition

Posted by – September 17, 2010

Whether it’s a preserved spleen, mummified bog body or a taxidermied whale, I am fascinated by all things related to mortality and the body. As such, I’m pretty psyched to check out “Memento Mori: The Birth and Resurrection of Postmortem Photography” at the Merchant’s House Museum. This collection of 145 postmortem images and ephemera taken between the 1840s and the early 1900s highlights the Victorian obsession with portraiture after death, its religious significance and function as a final rite of passage. According to the New York Times TMagazine blog, curator Eva Ulz states that “People dealt with death differently in the 19th century. People looked forward to a reunion in heaven. Creating portraits was considered a precursor to that heavenly reunion. They shouldn’t be thought of as creepy.”

Even more compelling, the curator asked five contemporary photographers to provide their own interpretations of the postmortem photograph.“Memento Mori” runs through Nov. 29 at the Merchant’s House Museum. I’m definitely going to check it out!

Woman With Daisies and Spirit, Circa 1875

Posted by – August 3, 2010

I love calculated spirit photography. The stereotypical nature of the ghost amuses me to no end, but the composition is breathtaking. The daisies really add a candid element to it.

[Via The American Museum of Photography and Meighan; Thanks, lady!]

Edward S. Curtis

Posted by – July 20, 2010

American photo historian Edward S. Curtis may have single-handedly documented vanishing Native American tribes of the early twentieth century. Aren’t these portraits just ridiculous? The costumes, the hairstyles, and deep, knowing stares are haunting. However, these are more than documents of a lost generation. The history of how these photos came to be is pretty incredible, too:

Edward S. Curtis

In 1906 J.P. Morgan offered Curtis $75,000 to produce a series on the North American Indian. It was to be in 20 volumes with 1,500 photographs. Morgan was to receive 25 sets and 500 original prints as his method of repayment. 222 complete sets were eventually published. Curtis’ goal was not just to photograph, but to document, as much American Indian (Native American) traditional life as possible before that way of life disappeared. He wrote in the introduction to his first volume in 1907: “The information that is to be gathered … respecting the mode of life of one of the great races of mankind, must be collected at once or the opportunity will be lost.” Curtis made over 10,000 wax cylinder recordings of Indian language and music. He took over 40,000 photographic images from over 80 tribes. He recorded tribal lore and history, and he described traditional foods, housing, garments, recreation, ceremonies, and funeral customs. He wrote biographical sketches of tribal leaders, and his material, in most cases, is the only recorded history.

What an incredible opportunity to document a culture in decline. I’m quite impressed that someone in a position of wealth was cognizant that Native American life was quickly disappearing and took action at the time.

Karl Blossfeldt

Posted by – March 1, 2010

I just got some new plants last weekend (staghorn fern: yes!) and I can’t wait to photograph their tiny limbs, poke their soil and generally over-mother them. After my last plant-centric post my friend Rachel sent me a tip about fellow greenery lover Karl Blossfeldt, a pioneer in the world of expressive plant photography. His macro, hyper-analytical close-ups of plants were inspired by the idea that “the plant must be totally valued as a totally artistic and architectural structure.” Some of these plants seem more like iron sculptures than works of nature — so precise, premeditated and unfriendly to the touch.

Check out a gallery of Blossfeldt’s work at Photography Now.

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