“Oh, it could, it could be tonight, if I ever leave this room.
(I never, ever leave this room, no.)”
Pulp are playing at the Radio City Music Hall on April 11.
Buy Separations. Buy Countdown 1992-1983. More Pulp. More Jarvis.
Lautaro Garcia, k1000amf016
Lee Friedlander, New York City, 1967
Seeing this photo twenty years ago is what got me into nightlife photography. (And I occasionally reference it to this day.)
People who are regularly complicit in wrong, are not in the habit of admitting such things. The unwillingness to admit wrong, the greedy claim upon the powers of disappointment, the deep sense of injury is not coincidental — it is a necessary fact of wrong-doing.
When a professor of history calls Barack Obama a “Food Stamp President,” it isn’t a mistake to be remedied through clarification; it is a statement of aggresion. And when a crowd of his admirers cheer him on, they are neither deluded, nor in need of forgiveness, nor absolution, nor acting against their interest. Racism is their interest. They are not your misguided friends. They are your fully intelligent adversaries, sporting the broad range of virtue and vice we see in humankind.
— Ta-Nehisi Coates in The Atlantic
Ville Varumo, End #9 (for The Ones 2 Watch issue #18)
Ville Varumo, End #3 (for The Ones 2 Watch issue #18)
Jaromil Jireš, Valerie and Her Week of Wonders
“Not since The Wicker Man has a soundtrack occupied my mind like Valerie and her Week of Wonders. It was like a door had been opened in my subconscious and fragments of memories and dreams rejoiced right there in my living room. I became very possessive over my copied version, a VHS to cassette copy which hissed like it had been captured from another world. I would surprise friends with snippets of the theme, it never failed to get a curious “Who’s this?” I was continually asked to make a copies but I had no intentions of making copies for anyone. The ritual chanting, the sections of catholic mass, the Czech hymns were mine, the cogs sequence, the acoustic love song, the room of cogs all mine.”
— Trish Keenan, Broadcast
Trish Keenan of Broadcast died one year ago today. Treat yourself to her favourite film.
“In me the rain has stopped falling. The fading light, walls barely white, in me the night has stopped calling.”
Trish Keenan died one year ago today.
Joseph Szabo, Lifeguard’s Dream, 1972 (top); Girls Smoking, Hot Dog Beach, 1977 (bottom)
Coming of Age in America: The Photography of Joseph Szabo is open at Heckscher Museum of Art in Huntington, NY, until March 25.
Martin Parr, Stockholm, Sweden, 1992 (from Bored Couples)
Vincent Dilio, Lady Jaye and Genesis Breyer P-Orridge
![Lee Friedlander, Maria Friedlander
“When Richard B Woodward wrote on Lee in the November 1989 Artnews, he referred to a photograph from 1970, taken in a Las Vegas motel room of me standing in a block of light against a dark wall, with Lee’s shadow imposed on my body. For him the picture read ‘as… a portrait of a marriage in which [Lee’s] photography has overshadowed both their lives.’ In a way, all of these photographs, not just that one, were formed because photography did indeed overshadow all four of our lives.”
— Maria Friendlander in her foreword to Lee Friedlander’s Family
Via Alex Soth. More in On Marrying a Photographer.](http://28.media.tumblr.com/tumblr_lxo78ebJyv1qz84edo1_500.jpg)
Lee Friedlander, Maria Friedlander
“When Richard B Woodward wrote on Lee in the November 1989 Artnews, he referred to a photograph from 1970, taken in a Las Vegas motel room of me standing in a block of light against a dark wall, with Lee’s shadow imposed on my body. For him the picture read ‘as… a portrait of a marriage in which [Lee’s] photography has overshadowed both their lives.’ In a way, all of these photographs, not just that one, were formed because photography did indeed overshadow all four of our lives.”
— Maria Friendlander in her foreword to Lee Friedlander’s Family
Demdike Stare, Forest of Evil (Dawn)
Angelo Pennetta, Paris Outtakes
Via somnambulatorie.
