2 weeks ago
Christopher Kane
Russ & Daughters
The abandoned city of Keelung in Taiwan. I’ve been reading about it all morning…pretty fascinating.

The abandoned city of Keelung in Taiwan. I’ve been reading about it all morning…pretty fascinating.

Vehicles in Wes Anderson movies.

2 weeks ago
“I’m very scared by the fact I’ve become older… I know the end is getting near and I could die any day,” she says, switching to Japanese. “I’m always here until it gets dark and, although I want to paint more, I think I should go home or I’ll get tired the next day. Before I go to sleep I’m so exhausted I could die. But then around three in the morning I wake up and start drawing or writing again.” -Yayoi Kusama

“I’m very scared by the fact I’ve become older… I know the end is getting near and I could die any day,” she says, switching to Japanese. “I’m always here until it gets dark and, although I want to paint more, I think I should go home or I’ll get tired the next day. Before I go to sleep I’m so exhausted I could die. But then around three in the morning I wake up and start drawing or writing again.” -Yayoi Kusama

2 weeks ago
Casa La Ricarda
Which black train to take is matter of guesswork. They have no destination signs and no announcement of arrivals is made. Head car may be numbered to show its route, but number is often wrong. In confusion, passengers sometimes jump across track, and some are killed by express trains.
South African documentary photographer Ernest Cole critically subverts the operations of the archive. Cole has the ability to officially change his racial status from black to colored, due to ambiguities in the government’s methods of documenting and systematizing racial identification, in order to gain access to broader strata of society for his photographic project. Cole’s black-and-white photographs depict passbook arrests, police inspections, dehumanizing conditions in the diamond mines, “white only” signage in the city—images that would have been subject to censoring.
Cole, when stopped and questioned by authorities, masqueraded his photographs as documents of youth crime rather than as records of the violence of institutional apartheid policy. In this way, Cole’s negatives passed archivally. Presenting his work in the guise of documentary visual policing, Cole was able to leave South Africa with his negatives and go to the United States, where House of Bondage was published. This operation of critical camouflaging, of archival mimicry as a critical practice in the realm of photographic production, will fuel this examination of the ways in which the body is represented archivally in contemporary photography from South Africa.

From Ernest Cole’s book, House of Bondage.

Which black train to take is matter of guesswork. They have no destination signs and no announcement of arrivals is made. Head car may be numbered to show its route, but number is often wrong. In confusion, passengers sometimes jump across track, and some are killed by express trains.

South African documentary photographer Ernest Cole critically subverts the operations of the archive. Cole has the ability to officially change his racial status from black to colored, due to ambiguities in the government’s methods of documenting and systematizing racial identification, in order to gain access to broader strata of society for his photographic project. Cole’s black-and-white photographs depict passbook arrests, police inspections, dehumanizing conditions in the diamond mines, “white only” signage in the city—images that would have been subject to censoring.

Cole, when stopped and questioned by authorities, masqueraded his photographs as documents of youth crime rather than as records of the violence of institutional apartheid policy. In this way, Cole’s negatives passed archivally. Presenting his work in the guise of documentary visual policing, Cole was able to leave South Africa with his negatives and go to the United States, where House of Bondage was published. This operation of critical camouflaging, of archival mimicry as a critical practice in the realm of photographic production, will fuel this examination of the ways in which the body is represented archivally in contemporary photography from South Africa.

From Ernest Cole’s book, House of Bondage.

David Byrne, shot by Annie Leibovitz
Mary Frey, Catcher, 2014 as part of the Satan Ceramics show
2 weeks ago
neue Werkstatt