Tim Hetherington - Sleeping Soldiers single screen (2009)
Todd Heisler “Final Salute”
The night before the burial of her husband’s body, Katherine Cathey refused to leave the casket, asking to sleep next to his body for the last time. The Marines made a bed for her, tucking in the sheets below the flag. Before she fell asleep, she opened her laptop computer and played songs that reminded her of “Cat,” and one of the Marines asked if she wanted them to continue standing watch as she slept. “I think it would be kind of nice if you kept doing it,” she said. “I think that’s what he would have wanted.” - See more at: http://potd.pdnonline.com/2010/01/3347#sthash.WGrGSZEa.dpuf
Cannot wait to see her live…
Paige Smith of A Common Name Studio plants what she calls “urban geodes” throughout major cities. She utilizes building holes and pipes to house her artwork, created by paper and resin.
"You might go hunting for treasures, but you generally happen upon them during your adventures or casual interaction with the environment," Smith says on her website. If you live in one of the areas Smith has visited, be on the lookout for these gems—and perhaps be reminded to lookout for the unexpected treasures in your own life.
Our failure is one of imagination, of empathy: we have failed to hold this reality in mind.
From Tony Ray-Jones’ ‘American Colour’ and Sebastião Salgado’s ‘Genesis’ to Viviane Sassen’s ‘In and Out of Fashion’ and Marc Cohen’s ‘Dark Knees’, TIME presents the photobooks we loved in 2013.
NEW AND NEWER TOPOGRAPHICS
New Topographics, along with FSA project, An-My Le, and Ed Ruscha’s work, is what opened my eyes to the possibilities of what photography as a medium can do. In undergrad, I was really attracted to Ed Rushca’s work and the antithesis of the works in the New Topographics exhibition. Seeing photographs of places familiar to me, seemingly boring and bland, being considered as art changed my perspective on art and photography.
I enjoy reading about New Topographics and the effects it had and still has on art photography. New Topographics changed what landscape photography can be and is. It wouldn’t be “truthful” to only “document” the picturesque. This was the new American man-altered landscape. The contradiction that is pointed out by Baltz, “Nature elicits other response from us, response that expose the contradictions between our actions and our image of ourselves.”
Unfazed by the criticism and utter lack of realizing the context and depth of this work at the time, each photographer still persists and continued to create work in a similar fashion. The part I enjoy most is there thoughts about this perceived failure and eventually became an important piece in art history. Their defense for these types of photographs over the years reinforced the strength of the work. I like that art has the ability to do this; at the time its made context and relevance is lost, but years later the relevance and intelligence is recognized.
This question by Baltz, What possible reason could there be for anyone to spend this much time photographing stuff?, aptly describes the contradiction between those who understood what the work was about, and those who did not take a second glance. Or, another way to put it, those who picked apart Jenkins’ introduction to the exhibition and those, like Jurovics, who spent the time to fully understand the work. Also, how words created the context and how those same words were used to misconstrue the intention. The public latched on to the words, instead of what the photographs showed and what the artists said about the works.