1. nburbeck:

    A few weeks ago I finally received my copy of Mossless’ Issue 3: The United States (2003-2013). It’s an incredibly ambitious photo book of more than 200 pages and contains the work of 118 great photographers from the all across the US and elsewhere whose work focuses on documentary photography and the American social landscape during the last decade. In addition to Issue 3 being an invaluable addition to my modest but growing art book library I also have a little bit of personal pride in this book. Romke Hoogwaerts (who along with Grace Leigh runs Mossless) wrote this in his introduction to the book on page 6: 

    "…These photographs were all sourced from the internet, chosen intentionally, not submitted. Many of the photographers we found were made visible to us by a few dedicated bloggers…a prodigious Nate Burbeck even maintained a collection of blogs dedicated to providing exposure to young artists from every quarter of the county."…"Their contributions to the internet made this book possible and here I will proudly thank them! It is to people like them, and every photographer that decided to share their work, that we owe our gratitude of experiencing so much."

    The blogs Romke is referring to are part of my regional art blog project here on tumblr that I ran for a little over a year (fly over art, beyond 9th ave, in the new frontier, and dim with beauty). Many of the photographers featured in Issue 3 were previously featured on one of those regional blogs and were thus found by Mossless. I was unaware of this at the time that I was maintaining those blogs (that is, until I discontinued them) but I am so thrilled that the work I put into them eventually helped in a small way to make such a beautiful book. Mossless has gotten a lot of great press in anticipation for the book, all of which is well deserved. I hope that recognition of their efforts only continues to grow, not only for Mossless but also for all of the incredibly talented photographers featured in the book, many of whom I consider to be influential on my own work in painting. It’s thrilling for me to say that I can associate myself with a great project like this (and great people) and to know that artists really can reach out and help their peers gain the recognition and exposure they and their work deserve. Best of luck to Romke, Grace, and all the photographers featured in Issue 3. You all have bright futures ahead of you and I can’t wait to see what comes next.

    If you haven’t picked up your own copy of The United States (2003-2013) I highly recommend doing so. You will not be disappointed.

    - Nate

     
  2. khalikallah:

    Here it is: Field Niggas….

    This film is a salute to the Summer nights of 2014. Watch it in 1080pHD. This goes out to all real New Yorkers the world over, and all souls against the concrete! Respect to everybody who ever stood in front of my camera. Salute to my brother Josh Furey for soldiering the audio, titles and posters. Sincere thanks given! Get prepared for the realest street document. The whole file is wild! I’m signing off as a True and Living field nigga. This is Visual calligraphy. This is some Barbara Walters 60 minute shit. Come walk with me for an hour. Peace! 

    Real shit.

     
     
  3. vicemag:

    Hobbes Ginseberg is a 20-year-old Los Angeles-based photographer who doesn’t want to make a big deal about their gender but prefers the pronouns she or they. They moved to Seattle after completing high school, and a year and a half after that followed their dreams to Hollywood. We met when I was in LA visiting artists on official VICE business last month, and I was immediately struck by Hobbes’s alert, inquisitive presence. After having known each other for no more than five minutes, we decided we should work together on an issue of MATTEmagazine to be released at the New York Art Book Fair this week at MoMA PS1, and went to the roof of the hotel, where I made the above cover portrait. I only had four frames left on my roll of film, but somehow each picture turned out to be interesting. Hobbes is someone who uses their self-image as their art, so this wasn’t actually that surprising. A mix of politically engaged self-portraiture in photography in the tradition of Catherine Opie, Cobain-scented soft grunge internet phenomena, and something indescribably glamourous and completely their own, Hobbes’s Selfies made me want to find out more about them.

    VICE: How did you start taking pictures?
    Hobbes Ginsberg:
     I used to do a lot of street photography. Taking pictures started for me on a trip to New York in the summer of 2010 and I had this “professional” point-and-shoot camera that I borrowed from a friend. I started taking photos of all the people I saw on the street who interested me visually. I had a vague idea of what street photography was at that point from deviantART, and on that trip I saw an exhibition by Henri Cartier-Bresson and some other old guy I dont remember. It took off from there. I did a lot of street work in Nicaragua.

    When did you start taking pictures of yourself?
    About two years ago I stopped shooting outside for a long time, and felt a need to turn inward so I just took a ton of selfies. It was easier for me to try new things that way. I borrowed some lights from the yearbook team at my school, and thats how I first got into studio work.

    What kind of role does taking pictures of yourself play in your life?
    In terms of my oeuvre, most people care the most about my selfies, and its what cemented my current aesthetic. It also the work I make that is the most cathartic for me. I get into these moods where I feel really shitty, and the way to fix it is to take photos.

    Continue

    !!!

     
  4.  

  5. twelveamps:

    a few negative (that’s not a pun) thoughts about film photography that have nothing to do with image quality:

    environmental impact: i think everyone knows at this point kodak was at one point the largest polluters in the united states. if you’ve ever done darkroom or commerical lab work handling…

     
  6. benoitp:

    Visions, Iles-de-la-madeleine, Québec, 2014

     

  7. "Sharpness is a bourgeois concept."
    — Henri Cartier-Bresson (via getradified)

    (via bloodoftheyoung)

     
  8. COURTESY STEVENSON GALLERY, © VIVIANE SASSEN, SERIES PIKIN SLEE, 2014, CYANOS
    COURTESY STEVENSON GALLERY, © VIVIANE SASSEN, SERIES PIKIN SLEE, 2014, VAPOUR
    COURTESY STEVENSON GALLERY, © VIVIANE SASSEN, SERIES PIKIN SLEE, 2014, RORSCHACH
    COURTESY STEVENSON GALLERY, © VIVIANE SASSEN, SERIES PIKIN SLEE, 2014, ALMANDO FUCHSIA
    COURTESY STEVENSON GALLERY, © VIVIANE SASSEN, SERIES PIKIN SLEE, 2014, LATUM
    COURTESY STEVENSON GALLERY, © VIVIANE SASSEN, SERIES PARASOMNIA, 2011, TWO FRIENDS
    COURTESY STEVENSON GALLERY, © VIVIANE SASSEN, SERIES PARASOMNIA, 2011, AYUEL
    COURTESY STEVENSON GALLERY, © VIVIANE SASSEN, SERIES FLAMBOYA, 2009, MILK

    jesuisperdu:

    greatleapsideways:

    In Anansi or Ivy, supine black bodies fuse together into sculptural oddities that are borne out of a soluble relation to the earth. And yet a certain ironic dissonance is produced by the whiteness of a shirt in shadow, or the presence of England’s Three Lions on a pair of shorts. The antinomies of blackness and whiteness, of the earthly and the intellectual, the savage and the saviour, are here overt structuring elements of the image. But such tensions as these contrasts evoke do not trouble a long history of ethnic degradation – they reinforce it as a further instance of the theatrical acquiescence we have come to expect from subservient, primitive blacks. (…)

    Sassen claims to “focus on the process of addressing the viewer,” arguing that her portraits are “about the gaze of the viewer and about my own perspective” as opposed to “some truth about the photographed subject.”

    We are thus invited to consider the extent to which these images, in their repetitive subjugation of nubile black bodies, might expand our sense of ourselves or of the photographer’s perspective – that is, we are invited to consider ‘Africa’ as an expression of the West. On this logic, Africa’s representational function is purely to mirror the pressing nature of largely western preoccupations. And so the bodies in these images exist purely to serve.”

    — The Stilled Life of the Pikinini: Viviane Sassen’s Pikin Slee, just published at thegreatleapsideways.com

    wait, wait, wait. can we really get into this though? like, why are people afraid to talk about this? i know sassen is like a photography deity to some people at this point but did she just basically say that because she is addressing white gaze that she can be excused from it? is she saying that because she is more self-reflexive than other white photographers she can still produce these images with impunity? i would love to hear what the people in sassen’s prints and books say after they hear the line” “…so the bodies in these images exist purely to serve.” sassen, no one needs you as a ‘protecter,’ no one needs you to “withdrawing him and her from the potential gaze of the viewer…”

    "I show them things they think they know or they don’t understand (like the paint) and in that way [my photographs] indirectly provoke questions about our Western view of the ethnic ‘Other’, which is often a very limited view.” what the fuck?! what wouldn’t they know about paint that you do?! YOU are a very limited view. i could go line for line, but i’m tired. i would love to discuss further because jeez, the more i read about how sassen talks about her work, the more i grow to loathe it.

     
  9. thephotographicdictionary:

    Gilleam Trapenberg

    rope          [rohp]
    –noun 
    1. a strong, thick string that is made by twisting many thin strings or fibers together.

    (via lindleywarren)

     
  10. forvivian:

    Michelle Groskopf

    MGroskopf.com
    dailystreet.tumblr.com

    Born Toronto, Canada.
    Currently lives in Los Angeles, CA.

    From her Trip feature:
    My current obsessions are the way families tend to cling together on vacation, the way Angelinos experience and conquer nature, the vulnerability of the beach, personal gardeners and The Grove/The Farmer’s Market in LA. If I’ve ever taken your photo it’s because I’m a little bit in love with you and I can’t seem to help myself. You’re just so good to look at. So thank you.

    From her NyoozTrend feature:
    I love everything weird and wonderful about LA. As a city it has so much personality and isn’t shy about showing you. The Mr. and Mrs. Muscle Beach Competition is a perfect example of that. There was a ton of pride and showmanship on display that day. - See more at: http://www.nyooztrend.com/regional/236145-we-ve-got-flex-appeal-meet-the-iron-ladies-and-brawny-blokes-gunning-for-glory-at-la-s-mr-and-mrs-muscle-beach-competition.html#sthash.1q0sFHBY.dpuf