Posts Tagged ‘photography’
“Celebrity is the chastisement of merit and the punishment of talent”*…
A People Map of the US, where city names are replaced by their most Wikipedia’ed resident: people born in, lived in, or connected to a place…
From our friends at The Pudding, a chart of our crazes– zoomable to reveal much more detail: “A People Map of the US.”
* Emily Dickinson
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As we obsess on obsession, we might recall that it was on this date in 2009 that Kodak ceded the victory of digital photography and announced that it would discontinue the production and sale of Kodachrome print and slide film, a repository of “precious memories” since 1935.
“The vitality of the ordinary members of society is dependent on its Outsiders. Many Outsiders unify themselves, realize themselves as poets or saints.”*…
Sister Gertrude Morgan in her Everlasting Gospel Revelation Mission; some of her work, hanging behind her. New Orleans, Louisiana, 1974
In a new book, Walks to the Paradise Garden, author Jonathan Williams, editor Phillip March Jones, and photographer Roger Manley gather interviews and encounters with artists they met along their road trips through the American South in the 1970s. Some of the artists they spoke with, like Sister Gertrude Morgan, would eventually be discovered by the art-world establishment, while others they met—like former mechanic Vernon Lee Burwell—continued to labor in obscurity.
Along with a deep sense of religious wonder, there is a sense of urgency to the work featured in Walks to the Paradise Garden, a compulsion to make more and more of it until it covered the walls of their homes, crowded the hallways, and spilled onto the front lawn. As Williams writes in the introduction to the book, “We’re talking about a South that is both celestial and chthonian,” pertaining to both heaven and hell. “They are often one and the same.”…
Outsider artists and their work: “Finding Jesus on the Front Yard.”
* Colin Wilson, The Outsider
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As we see through different eyes, we might recall that it was on this date in 1886 that a different kind of “outsider” made its first appearance: Coca-Cola was first sold to the public at the soda fountain in Jacob’s Pharmacy in Atlanta, Georgia. It was formulated by pharmacist John Stith Pemberton, who mixed it in a 30-gallon brass kettle hung over a backyard fire. Pemberton’s recipe, which survived in use until 1905, was marketed as a “brain and nerve tonic,” and contained extracts of cocaine and (caffeine-rich) kola nut. The name, using two C’s from its ingredients, was suggested by his bookkeeper Frank Robinson, whose excellent penmanship provided the famous scripted “Coca-Cola” logo.
“All men know the use of the useful, but nobody knows the use of the useless!”*…
Chindōgu is the art of inventing seemingly practical but ultimately useless gadgets to enhance everyday life. Popularised in Japan in the 90s by its creator, Kenji Kawakami, it was originally just a comical section that appeared in his monthly magazine, Mail Order Life. From fans attached to your chopsticks that cool your food before you eat it, to a Pritt Stick of butter that allows for easy application onto your toast, chindōgu is the perfect balance between ingenuity and absurdity.
As such, it instantly grabbed the attention of Daniel Gebhart de Koekkoek…
To date, there are over 1000 official chindōgu items in existence. Poetic and political in nature, they are comments on the state of consumerist culture and the materialism of modern life. They poke at fun at our reliance on technology and inability to carry out basic tasks like administering eye drops. Though humorous, chindōgu has a set of rules – a list of ten commandments, in fact – that must be adhered to. They are as follows: Chindōgu must be (almost) completely useless; must exist (they should be real, useable objects); must represent freedom of thought and action; must be understood by all (its function should not be obscure); must not be sold (they are not tradable commodities); must not be made purely for the sake of humour (it should also be an earnest attempt to solve a problem); must not be used as propaganda; must not be taboo (cheap sexual humour etc.); must not be patented; and must not be made with prejudice (they must be useable by everyone, young and old, rich and poor).
A perfect fit with the other tongue-in-cheek projects that make up his portfolio, including his Make Alpaca Great Again series… Daniel knew he had to find a way to shoot this phenomenon…
More at: “Daniel Gebhart de Koekkoek recreates the ingenious yet useless inventions of Chindōgu.”
The Complete Works of Chuang Tzu
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As we investigate intention, we might recall that it was on this date in 1985 that the Coca-Cola Company, concerned that it had been loosing share to the sweeter offerings of competitors like Pepsi, introduced Coke II (or “New Coke, ” as it was widely known). Consumer reaction was swift– and profoundly negative. Three months later, Coke caved, reintroducing the original formula (rebranded as Coca-Cola Classic)– and enjoyed a boost in sales… leading some charitably to suggest that New Coke was just a ploy. But the company maintained that it was absolutely for real… and the episode has become a cautionary example of the dangers in tampering with an established product/brand.
Happy Shakespeare’s Birthday!
“Turn left at Greenland”*…
After a series of setbacks in the courts that repealed many of the First New Deal’s program, President Roosevelt pursued a new set of initiatives including the Resettlement Administration in 1935. It was charged with aiding the poorest third of farmers displaced by the depression and particularly focused on resettlement on viable lands and providing low-interest loans. Directed by Rexford Tugwell, a Columbia University economist, the RA came under immediate scrutiny. Realizing the battle for public opinion had begun, Tugwell hired his former student Roy Stryker to lead the Historic Section within the Information Division of the RA, which in 1937 was moved to the FSA.
In order to build support for and justify government programs, the Historical Section set out to document America, often at her most vulnerable, and the successful administration of relief service. The Farm Security Administration—Office of War Information (FSA-OWI) produced some of the most iconic images of the Great Depression and World War II and included photographers such as Dorothea Lange, Walker Evans, and Arthur Rothstein who shaped the visual culture of the era both in its moment and in American memory. Unit photographers were sent across the country. The negatives were sent to Washington, DC. The growing collection came to be known as “The File.” With the United State’s entry into WWII, the unit moved into the Office of War Information and the collection became known as the FSA-OWI File…
Now, from Yale, a web-based platform for organizing, searching, and visualizing 90,000 of those 170,000 photographs created by the United States Farm Security Administration and Office of War Information (FSA-OWI) from 1935 to 1945: Programmer.
* Ringo Starr, in response to the question “How do you find America?,” asked in a Beatles press conference on the first U.S. tour
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As we look and see, we might recall that it was on this date in 1931 that Cab Calloway recorded “Minnie the Moocher,” the first jazz record to sell one million copies and the song that cemented the popularity of “scat” singing (which had been first popularized in 1926 by Louis Armstrong’s “Heebie Jeebies.”)
“Better to see something once than to hear about it a thousand times”*…
In recent years, the Zone, a highly restricted area in northern Ukraine that surrounds the site of the 1986 nuclear disaster, has become a tourist hotspot. Each morning, tour buses queue at the entry checkpoint where a souvenir shop plastered with nuclear warning symbols peddles neon keyrings and radiation suits. The guides’ t-shirts read: “Follow me and you will survive”. In fact, the dangers are minimal. Along their tightly demarcated routes, these visitors will be exposed to less radiation than during a routine x-ray.
Existing in the shadows of this highly commodified industry is the secretive subculture of the “stalkers”: mostly young Ukrainian men who sneak into the Zone illegally to explore the vast wilderness on their own terms. The name originates from the 1972 Russian science fiction novel Roadside Picnic. Written by brothers Arkady and Boris Strugatsky, it tells the story of contaminated “zones” created on Earth by aliens, in which rogue stalkers roam, hoping to recover valuable alien technology. The book inspired Andrei Tarkovsky’s 1979 cult-classic film Stalker.
Beyond youthful rebellion, the motivations of the modern stalkers are complex, and speak to the national trauma that resulted from a tragedy whose effects will be felt for generations. And now there is another side to the practice. Enterprising stalkers have started offering their own “illegal tours” to travellers seeking a less restricted (and therefore more dangerous) experience of the Exclusion Zone. I joined one such tour in an effort to discover why visitors might chose a stalker over an official guide. Can a subculture that is so tied to deep wells of personal and national loss really offer something of value to an outsider?…
Accompany Aram Balakjian on a beautifully-photographed expedition through the forbidden area: “Into the Zone: 4 days inside Chernobyl’s secretive ‘stalker’ culture.”
* Uzbek proverb
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As we take the tour, we might recall that it was on this date in 2000, via an announcement by then Secretary of Energy Bill Richardson, and after decades of denial, that a U.S. government study conceded that cancer and premature deaths of workers at 14 nuclear weapons plants since WW II were caused by radiation and chemicals.
“Full Metal Jacket”*…
Heavy metal is a vast and complex subculture, with supremely elitist followers and heavily codified attire, impenetrable to those outside of its fanbase. As heavy metal’s influence continues to spread throughout culture, from Justin Bieber’s Purpose Tour imitation of Pentagram’s logo to Tommy Genesis wearing Toxic Holocaust merch, Melchior Tersen’s timely and impressive book, Killing Technology [here], documents the frontline of its symbolism: patches and patch jackets, DIY garments that fans build up themselves, sometimes over many years. Patches are bought at festivals, on merch tables at gigs and from record shops and online distros. Sites like T-Shirt Slayer exist both to trade in rare items and, more importantly, to show off collections of rare items. The breadth of the genre is overwhelming, but most true metal fans would be able to size you up immediately by the patches you wear on your jacket…
Metal style was a fashion in the 90s. Now we are in an era that’s more based on reblogging than pure avant-garde creation. Still, metal visuals fascinate a public that’s not necessarily into metal as music. A consideration of the form– and more photos– at Paper Journal‘s interview with Tersen: “Killing Technology.”
* (the title of a Stanley Kubrick film)
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As we get loud, we might recall that it was on this date in 1958 that Elvis Presley’s “Jailhouse Rock” become that first single to enter the U.K. pop charts at #!. The record (the B-side “treat Me Nice”) would stayed on top for three weeks.
“Reality seems valueless by comparison with the dreams of fevered imaginations; reality is therefore abandoned”*…
Presidents Park, near Williamsburg, Virginia
Birmingham-based photographer Leland Kent travelled the South to document “abandoned places”…
Six Flags Amusement Park, near New Orleans
Jax Lanes, Jacksonville, Florida
See more of these three sites and many others, all with explanatory history, at Abandoned Southeast.
* Emile Durkheim
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As we forget to remember, we might send acerbic birthday greetings to Alexander Humphreys Woollcott; e was born on this date in 1887. A critic and commentator for The New Yorker (and a member of the Algonquin Round Table), he is probably more easily recognized these days as the inspiration for “Sheridan Whiteside,” the main character in the play The Man Who Came to Dinner by George S. Kaufman and Moss Hart, and for the far less likable character Waldo Lydecker in the Otto Preminger film Laura . (Woollcott himself was convinced that he was the inspiration for his friend Rex Stout’s brilliant, eccentric detective Nero Wolfe; but Stout denied it.)
