@23 hours ago with 148 notes
#Art #Photography #Portraiture #Jocelyn Lee 

What is so refreshing about Miksys’s photographs is the extent to which they refuse fetish and melodrama, and instead render the nightly revels of his subjects in an urbane and affectionate clarity. Paging through his book, I think as frequently of Richard Linklater’s Dazed and Confused as I do this portrait of three young boys in London Fields, by Chris Dorley-Brown. Youth is already complex, and in some senses universally so; young adulthood all the more so, as the mismatch between vigour and sagacity, or between desire and competence is continually placed under acute stress. In the end, these photographs are characterised by the energy and error of youth – whatever the ironies of the sites in which they were made, it is the awkwardness, the tremulous insecurity and paper thin confidence that give them their charm.”

I focus on one place at a time. This has been very important to me and I need a strong connection to the place I’m photographing. Before I left for Lithuania I was America-obsessed – never had any interest in leaving. That’s when I did my BINGO project in the 1990s.  But then Lithuania hit me and I couldn’t really let go. Mostly, it’s a personal decision. I’d say it’s more important to figure out what you care about and then stay dedicated to your subject all the way to the end until you think you’re finished. 

— from Dancing in the Shadows of History: a conversation on Andrew Miksys’s DISKO, just uploaded at thegreatleapsideways.com

@4 days ago with 60 notes
#Photography #Andrew Miksys #Portraiture #Landscape #Identity #The Great Leap Sideways 
@1 week ago with 933 notes
#Photography #Landscape #Ursula Schulz-Dornburg #Typology #The Dusseldorf School 

The inimical and wondrously iconoclastic Diane Di Prima.

@2 weeks ago with 20 notes
#Poetry #Diane Di Prima 

Ingar Krauss. See his book Portraits.

@1 day ago with 111 notes
#Art #Photography #Portraiture #Ingar Krauss 

Before I started working on Terry I had this constant thought: if a photodocument refers more to something unreal than to something real, what is it in fact a document of? This question formed the backdrop in front of which I started exploring the office as an environment. I myself worked in a small office as a social work intern for ten months, before I went to the Academy of Arts. At the time I felt this constant urge to escape from the here and now into something private, into thought, into a distant view. Even though I didn’t start out with a clear idea of what I was looking for, or what I wanted to tell, this feeling came back to me very strongly when I starting photographing it many years later for Terry.

— from How Terry Likes His Coffee: a conversation with Florian van Roekel, just uploaded at thegreatleapsideways.com.

@5 days ago with 77 notes
#Photography #Florian van Roekel #Portraiture #Landscape #Documentary photography #Realism #The Great Leap Sideways 

"His energy and artistry were so extraordinary you almost begin to wonder if he did not bend the moment to his will. Which, in a way, he did. I wonder if he knew how wonderful that was, how profound. I hope he knew."

@1 week ago with 47 notes
#Photography #Garry Winogrand #Paul Graham #Leo Rubinfien 

I have just realized that the stakes are myself
I have no other
ransom money, nothing to break or barter but my life
my spirit measured out, in bits, spread over
the roulette table, I recoup what I can
nothing else to shove under the nose of the maitre de jeu
nothing to thrust out the window, no white flag
this flesh all I have to offer, to make the play with
this immediate head, what it comes up with, my move
as we slither over this go board, stepping always
(we hope) between the lines

Diane Di Prima, “Revolutionary Letter #1” from Revolutionary Letters.

Photographs from The Ninety-Nine by Katy Grannan. More to follow…

@2 weeks ago with 103 notes
#Art #Photography #Katy Grannan #Portraiture #The Ninety-Nine #Documentary photography #Poetry #Diane Di Prima #Politics #Power