Thursday, December 30, 2010

Tuesday, December 28, 2010

So Young

It is no wonder Ryan McGinley personally requested to work with Coco Young on many of his projects. When I first stumbled across her blog I fell in love with Coco's photographic eye. Everything is so fresh and carefree. Sometimes I need a reminder to shoot without inhibition.

These two in particular are my favorite. But make sure to check out some more here.

Photo Credits: All by Coco Young

Sunday, December 26, 2010

The Art of Marfa

I love vintage photographs. I collect them - each time I go to the flea market, I sift through boxes to find ones I like. Here's why - they're nostalgic, they're anonymous, and they are most always what we would consider a "friend photo." In other words, the photographer was looking for a good family photo, not necessarily one that stands on its own. But then there are some that work both ways. And those are the most fun to find.

For me it nods back to Weegee's methods. He was an amazing man-behind-the-lens, but he was there to get to the heart of the picture for a news story. He just had an exceptional eye for what exactly that was. Well, that's the idea here on a certain level - images to document a town or a family end up looking like art. I always learn something.

I found these vintage photos courtesy of the Marfa Public Library. They're all of Marfa, Texas.

Sunday, October 24, 2010

Drive Through World

Two little girls pay out the window in Soho. NY Photographer Atisha Paulson's Drive Through World, Part of his series Shooting Soho.

Friday, October 22, 2010

An Intimate Setting, An Adolescent Portrait

Last night I ventured over to a lecture - one of a series- held by the Camera Club of New York at SVA. The photographer was Martine Fougeron. A graduate of the ICP, Fougeron began shooting her two sons- and 10 of their friends- when they were 13 and 14 at the inception of their teenage rebellion and continued through their high school graduation. As a result, she built a refined, intimate portfolio of their coming of age.

Fougeron did something socially difficult, seemlessly-- AKA she's Mom and her two sons are growing up, rebelling, figuring out girls- booze- smoking (they're French) - yet there isn't really evidence of this adverse relationship within the work, and where it is present is an illustration that is integral to the story. I also think she was able to minimize photographer interference in a context where it would typically be amplified to capture a story that ends up feeling true - and very relatable at that. Somewhere in the lecture introduction, Fougeron was compared to the likes of Jacques Henri-Lartigue and Larry Clark, a class of photographers who photographed within their immediate social surroundings. For Fourgeron, that was caring for her sons. And I think that's why these images come so naturally.

Wednesday, October 20, 2010

View Of The Street

Thanks to Michael Wolf's upcoming show "iseeyou," Google maps is crossing over into the art world. In his exhibit, Wolf makes a statement about urban life and our quickly depleting privacy given the advancement of technology. Part of the exhibition is comprised of a series called "Street View: A Series of Unfortunate Events." I always did wonder how Google managed to compile such a seemless view-- the company's automobile trolls the city streets with 9 mounted cameras, capable of capturing the world in 360 degrees.

Wolf switched out his camera for the screenshot tool on his computer and milled the streets of cities around the world, virtually speaking that is, to find an unexpected moment.