Photograph by Karin Székessy, Die Schöne, Der Fisch + das Monster, 1976, Silver gelatin print, 29 x 40 cm. Via. Bottom, photograph by Nico Krijno, Untitled (Wooden Crutches and Frame), 2013. Via.
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A horror so deep only ritual can contain it.
Sarah Kane, Crave, 1998. Via.
Negatives from the day of the fire, the following night in Lindow, and the night in a Berlin hotel room, July 2011.
See also, I wrote an essay for The Art Book Review about this book.
David Byrne interviewing himself, part of the 1984 concert film, Stop Making Sense. Via.
(Source: citizeneoin, via notational)
![Top, view of space designed by Hans Hollein, Österreichisches Verkehrsbüro GmbH [Austrian Travel Agency], conceived in 1976, built in 1979, destroyed in 1987. Via. Bottom, photograph by Noah Kalina, Untitled, from the series Pictures That Look Like This, 2013. Via.
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I should have been a pair of ragged claws Scuttling across the floors of silent seas.
T.S. Elliot. Via.](http://25.media.tumblr.com/b261f0da03192f2a2e8e6a3976284065/tumblr_mmut36l57w1qzo0d3o1_1280.jpg)
Top, view of space designed by Hans Hollein, Österreichisches Verkehrsbüro GmbH [Austrian Travel Agency], conceived in 1976, built in 1979, destroyed in 1987. Via. Bottom, photograph by Noah Kalina, Untitled, from the series Pictures That Look Like This, 2013. Via.
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I should have been a pair of ragged claws
Scuttling across the floors of silent seas.
T.S. Elliot. Via.
Harvey Milk, from The Harvey Milk Interviews: In His Own Words, 2012.
Christian Patterson, interviewed by Jörg Colbert for Conscientious Photography Magazine about the breath-taking series and book Redheaded Peckerwood, April 2013.
Top, I get mail, or snap sent to me by David Henry, Japan, May 2013. Bottom, installation by Hans-Peter Feldmann, Volvo, Hamburg, 2013. Part of the exhibition at the Deichtorhallen, until June 2, 2013. Via. Snap taken by Radpropaganda?
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It seems like people who watch films expect more earthbound things from the medium than they do from any other art form, because a lot of people forget that it’s art, and that it’s even artificial. You hear people complaining all the time that movies aren’t realistic, as if they have an obligation to be realistic, or if they’re even trying to be realistic. I hate using the word realistic. You don’t hear people complaining about music being unrealistic or paintings being unrealistic or photographs being unrealistic. “Hey, a photo only has two dimensions - what’s with that?
Fette, from the series and book Exhaustion can occur merely attempting to breathe, 2013.
A fine group of people is putting together a new publication, VIA, and in their first issue, they will be featuring some of my photographic work, and some of my words. Look out for the official launch, now imminent.
Fette, The neighbor (II), Berlin, January 2011.
These are the first two photographs I ever took of him. Then, I was living next door and from the dark of my cornered windows I would watch him smoke on the balcony. Sometimes he would notice me, and would pretend not to see me, and sometimes he would smile, briefly, then he would take another drag of his cigarette.
I am good at reading people, but you are impossible to read. He said to me in the kitchen when I finally asked if I could record him.
Music video for GusGus, Believe, 1997. Directed by the band members (?).
And I still can remember watching this music video on M6, late at night for the first time, then staying up so I would record it on VHS the next time it would play. Every attempt with a few seconds missing at the beginning. Polydistortion is in a box somewhere at my parents.
Then I saw Let the Right One In in a theater in Los Angeles.
