but I'm afraid nothing that you'd really care.
So, just get away.
Sincerely and yours truly,
William.
Nunca he sido un pesimista. Solo un optimista con pésima suerte.
Formspring
Fotolog
Myspace
Blogger
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Words out for me?
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Berenice Abbott
Newstand; 32nd Street and Third Avenue. Nov. 19, 1935.
CHANGING NEW YORK 1935-1938
In early 1929, Abbott visited New York City ostensibly to find an American publisher for Atget’s photographs. Upon seeing the city again, however, Abbott immediately saw its photographic potential. Accordingly, she went back to Paris, closed up her studio, and returned to New York in September. Her first photographs of the city were taken with a hand-held Kurt-Bentzin camera, but soon she acquired a Century Universal camera which produced 8 x 10 inch negatives. Using this large format camera, Abbott photographed New York City with the diligence and attention to detail she had so admired in Eugène Atget. Her work has provided a historical chronicle of many now-destroyed buildings and neighborhoods of Manhattan.
Abbott worked on her New York project independently for six years, unable to get financial support from organizations (such as the Museum of the City of New York), foundations (such as the Guggenheim Foundation), or even individuals. She supported herself with commercial work and teaching at the New School of Social Research beginning in 1933.[14] In 1935, however, Abbott was hired by the Federal Art Project (FAP) as a project supervisor for her “Changing New York” project. She continued to take the photographs of the city, but she had assistants to help her both in the field and in the office. This arrangement allowed Abbott to devote all her time to producing, printing, and exhibiting her photographs. By the time she resigned from the FAP in 1939, she had produced 305 photographs that were then deposited at the Museum of the City of New York.
Abbott’s project was primarily a sociological study imbedded within modernist aesthetic practices. She sought to create a broadly inclusive collection of photographs that together suggest a vital interaction between three aspects of urban life: the diverse people of the city; the places they live, work and play; and their daily activities. It was intended to empower people by making them realize that their environment was a consequence of their collective behavior (and vice versa). Moreover, she avoided the merely pretty in favor of what she described as “fantastic” contrasts between the old and the new, and chose her camera angles and lenses to create compositions that either stabilized a subject (if she approved of it), or destabilized it (if she scorned it).[15]
Abbott’s ideas about New York were highly influenced by Lewis Mumford’s historical writings from the early 1930s, which divided American history into a series of technological eras. Abbott, like Mumford, was particularly critical of America’s “paleotechnic era,” which, as he described it, emerged at end of the American Civil War, a development called by other historians the Second Industrial Revolution. Like Mumford, Abbott was hopeful that, through urban planning efforts (aided by her photographs), Americans would be able to wrest control their cities from paleotechnic forces, and bring about what Mumford described as a more humane and human-scaled, “neotechnic era.” Abbott’s agreement with Mumford can be seen especially in the ways that she photographed buildings that had been constructed in the paleotechnic era—before the advent of urban planning. Most often, buildings from this era appear in Abbott’s photographs in compositions that made them look downright menacing.](http://24.media.tumblr.com/tumblr_lplx5eT9a71qa7lzxo1_1280.jpg)
Newstand; 32nd Street and Third Avenue.
Nov. 19, 1935.In early 1929, Abbott visited New York City ostensibly to find an American publisher for Atget’s photographs. Upon seeing the city again, however, Abbott immediately saw its photographic potential. Accordingly, she went back to Paris, closed up her studio, and returned to New York in September. Her first photographs of the city were taken with a hand-held Kurt-Bentzin camera, but soon she acquired a Century Universal camera which produced 8 x 10 inch negatives. Using this large format camera, Abbott photographed New York City with the diligence and attention to detail she had so admired in Eugène Atget. Her work has provided a historical chronicle of many now-destroyed buildings and neighborhoods of Manhattan.
Abbott worked on her New York project independently for six years, unable to get financial support from organizations (such as the Museum of the City of New York), foundations (such as the Guggenheim Foundation), or even individuals. She supported herself with commercial work and teaching at the New School of Social Research beginning in 1933.[14] In 1935, however, Abbott was hired by the Federal Art Project (FAP) as a project supervisor for her “Changing New York” project. She continued to take the photographs of the city, but she had assistants to help her both in the field and in the office. This arrangement allowed Abbott to devote all her time to producing, printing, and exhibiting her photographs. By the time she resigned from the FAP in 1939, she had produced 305 photographs that were then deposited at the Museum of the City of New York.
Abbott’s project was primarily a sociological study imbedded within modernist aesthetic practices. She sought to create a broadly inclusive collection of photographs that together suggest a vital interaction between three aspects of urban life: the diverse people of the city; the places they live, work and play; and their daily activities. It was intended to empower people by making them realize that their environment was a consequence of their collective behavior (and vice versa). Moreover, she avoided the merely pretty in favor of what she described as “fantastic” contrasts between the old and the new, and chose her camera angles and lenses to create compositions that either stabilized a subject (if she approved of it), or destabilized it (if she scorned it).[15]
Abbott’s ideas about New York were highly influenced by Lewis Mumford’s historical writings from the early 1930s, which divided American history into a series of technological eras. Abbott, like Mumford, was particularly critical of America’s “paleotechnic era,” which, as he described it, emerged at end of the American Civil War, a development called by other historians the Second Industrial Revolution. Like Mumford, Abbott was hopeful that, through urban planning efforts (aided by her photographs), Americans would be able to wrest control their cities from paleotechnic forces, and bring about what Mumford described as a more humane and human-scaled, “neotechnic era.” Abbott’s agreement with Mumford can be seen especially in the ways that she photographed buildings that had been constructed in the paleotechnic era—before the advent of urban planning. Most often, buildings from this era appear in Abbott’s photographs in compositions that made them look downright menacing.
life:
CHAOS IN THE STREETS — On Aug. 6, 2011, a small protest outside a police station in Tottenham, just north of London, spiraled into some of the worst violence in years in the British capital. More than 170 people were arrested after two days of rioting and looting, and ensuing clashes between groups of young people and authorities spread to the capital’s outer boroughs — in what police are calling “copycat criminal activity” — including Brixton, Enfield, Islington and Walthamstow.
Pictured: A Carpetright store in London burns on Aug. 6.
see more — London Looting: Scenes of Violence
brassaï, two prostitutes, boulevard montparnasse, paris, 1931
from ‘brassaï: the secret paris of the 30s’
(Source: m3zzaluna, via adsertoris)
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diariobizarrices:
Meret Oppenheim and Louis Marcoussis
by Man Ray
Méret Oppenheim (6 October 1913 — 15 November 1985) was a German-born Swiss, Surrealist artist, and photographer. Oppenheim was a member of the Surrealist movement of the 1920s along with André Breton, Luis Buñuel, Marcel Duchamp, Max Ernst, and other writers and visual artists. Besides creating art objects, Oppenheim also famously appeared as a model for photographs by Man Ray, most notably a series of nude shots of her interacting with a printing press.
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Louis Marcoussis, formerly Ludwik Kazimierz Wladyslaw Markus or Ludwig Casimir Ladislas Markus, (1878 or 1883,[1]Łódź – October 22, 1941, Cusset) was a painter and engraver of Polish origin who lived in Paris for much of his life and became a French citizen.
After studying law briefly in Warsaw he went to the Kraków Academy of Fine Arts, where his teachers included Jan Stanislawski and Jozev Mehoffer. Moving to Paris in 1903, he spent a short time at the Académie Julian under Jules Lefebvre. The first time a painting of his was shown in a major exhibition was at the Salon d’Automne in 1905, and over the next quarter-century his work was shown in many other important exhibitions, in particular at the Salon des Indépendants and the Salon des Tuileries.
He drew cartoons for satirical journals, as he had earlier in Poland. In Paris he needed to earn his own living, and also took on other drawing and illustration work. In the cafés of Montmartre and Montparnasse he got to know Apollinaire, Braque, Degas, Picasso and many more artists and writers. It was Apollinaire who suggested Markus’ French name, Marcoussis, after a village not far from Paris.
Impressionism influenced his early paintings, but from about 1910 he was part of the Cubist movement alongside other avant-garde painters like Picasso, Braque and Juan Gris. His work was shown in exhibitions in many European cities and in the US. In 1925 he had his first solo exhibition in Paris. As well as painting still lifes and musical instruments in the Cubist manner, he also produced portraits, views of Paris, and images from the Breton seaside.
From 1930 onwards, he concentrated on printmaking and illustration, including work inspired by Apollinaire’s Alcool, Tzara’s Indicateur des chemins de cœur, and Éluard’s Lingères légères and Aurélia. In the late 1930s Marcoussis collaborated with Spanish surrealist Joan Miró and taught him etching techniques. He also taught at the Académie Schlaefer.](http://24.media.tumblr.com/tumblr_ljkq9yfuAU1qcg5bvo1_1280.jpg)
Meret Oppenheim and Louis Marcoussis
by Man Ray
Méret Oppenheim (6 October 1913 — 15 November 1985) was a German-born Swiss, Surrealist artist, and photographer. Oppenheim was a member of the Surrealist movement of the 1920s along with André Breton, Luis Buñuel, Marcel Duchamp, Max Ernst, and other writers and visual artists. Besides creating art objects, Oppenheim also famously appeared as a model for photographs by Man Ray, most notably a series of nude shots of her interacting with a printing press.
-
Louis Marcoussis, formerly Ludwik Kazimierz Wladyslaw Markus or Ludwig Casimir Ladislas Markus, (1878 or 1883,[1]Łódź – October 22, 1941, Cusset) was a painter and engraver of Polish origin who lived in Paris for much of his life and became a French citizen.
After studying law briefly in Warsaw he went to the Kraków Academy of Fine Arts, where his teachers included Jan Stanislawski and Jozev Mehoffer. Moving to Paris in 1903, he spent a short time at the Académie Julian under Jules Lefebvre. The first time a painting of his was shown in a major exhibition was at the Salon d’Automne in 1905, and over the next quarter-century his work was shown in many other important exhibitions, in particular at the Salon des Indépendants and the Salon des Tuileries.
He drew cartoons for satirical journals, as he had earlier in Poland. In Paris he needed to earn his own living, and also took on other drawing and illustration work. In the cafés of Montmartre and Montparnasse he got to know Apollinaire, Braque, Degas, Picasso and many more artists and writers. It was Apollinaire who suggested Markus’ French name, Marcoussis, after a village not far from Paris.
Impressionism influenced his early paintings, but from about 1910 he was part of the Cubist movement alongside other avant-garde painters like Picasso, Braque and Juan Gris. His work was shown in exhibitions in many European cities and in the US. In 1925 he had his first solo exhibition in Paris. As well as painting still lifes and musical instruments in the Cubist manner, he also produced portraits, views of Paris, and images from the Breton seaside.
From 1930 onwards, he concentrated on printmaking and illustration, including work inspired by Apollinaire’s Alcool, Tzara’s Indicateur des chemins de cœur, and Éluard’s Lingères légères and Aurélia. In the late 1930s Marcoussis collaborated with Spanish surrealist Joan Miró and taught him etching techniques. He also taught at the Académie Schlaefer.
Form Minus Function Series by Paul Hollingworth
It’s fair to say that type and ink only ever meet on a printed page. In this series of images, the two elements are presented to us in a way that is a little more unusual. Images of black and white ink in water are accompanied by small typographical letters to generate strange yet captivating forms that appear to float effortlessly in the air.
A contemporary tribute to traditional methods of print.
(via zerotoinfinity)
Volkswagen Beetle Spider!
Visit WebUrbanist to see more awesome examples of VW Beetles turned into creepy crawly sculptures.
