Tim Hetherington

If you are interested in mass communication, then you have to stop thinking of yourself as a photographer. We live in a post-photographic world. If you are interested in photography, then you are interested in something — in terms of mass communication — that is past. I am interested in reaching as many people as possible.Tim Hetherington
{thanks to Deb Willis for sending me this quote}

Tim Hetherington – a retrospective in pictures
An appreciation of Tim by Xan Brooks

Parting Glance: Tim Hetherington

Human Rights Watch Tribute to Tim Hetherington

Tim Hetherington > Vimeo

All about CHRIS MARKER

Chris Marker — Notes from the Era of Imperfect Memory.

Chrismarker.org is an randomly-compiled, taxonomically naive and hopefully useful archive of ruminations, bibliographic & filmographic notations, untimely meditations, mnemonic minutiae and other glosses on the cinematic, written, photographic and multimedia work of world-citizen & time-traveler Chris Marker – the “mercurial international man of semiotic mystery.”

Today I found myself led to Electronic Arts Intermix eai.org which is putting up its incredible archive of video art and also making public a A Kinetic Art: The EAI Archives Online . In searching their catalogue, I found many Chris Marker films that I have not seen and NEED TO: Immemory, a 1997 CD-ROM, and Prime Time in the Camps , 1993.

Interacting with Philip IV, Restored

Philip IV, Restored – Interactive Feature – NYTimes.com.

After technical studies and a yearlong restoration, curators and conservators at the Metropolitan Museum of Art now believe that a full-length portrait of Philip IV that has been in the Met’s collection since 1914 is by Velázquez and not his workshop. The attribution reverses a finding made in 1973 when museum officials downgraded this portrait, along with 299 other old master paintings, saying they were either by the artist’s workshop or a follower.

Reconsidered, a Met Velázquez Is Vindicated article by Carol Vogel

Nathan Oliveira died this week

He was one of my great teachers and a great artist. I remember his drawing class so well. Tu-thur mornings. I especially remember the all black still life and his inspirational slide shows.  And making monoprints. He expanded my vision and is also one of my models for the teaching artist. His commitment to his own work was so strong and always in the room. He  spoke at Leo’s memorial with his portable oxygen tank. And I got to introduce him as another one of my great teacher. He smiled.

“Spring Nude” (1962)

NY times Obit

Stanford

Bruce Connor

Found this post on BRUCE CONNOR

Seeing his films in graduate school was one of those ah ha moments for me. I still remember going to his visit artist talk because I went to all the visiting artist talks. And his films using found and stock imagery opened up a entire new world for me and I can see started my ephemeral dissolving image obsession thing I have. I remember after the screening he said that he would show more films in one of the film classrooms and I went along hungry to see more. I can almost see myself then as I write this but I can’t see Bruce Connor – just his films.

Films now at Film Forum – links to reviews

and a new blog to check out – Idiom

And babies & artist interventions

Art Worker’s Coalition (Frazer Dougherty, Jon Hendriks and Irving Petlin)”  1969-1970

Still trying to write my essay for ‘Photography & Atrocity’ book. I was thinking about artist interventions and this photo came to mind and typed in ‘and babies’ to google and the first 3 were these photos.  The words make us look. We read the question, pause and read the answer.  Tbe image stares at us stays in our consciousness.

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Now thinking about Robert HEinecken and his interventions with magazines. I never made the connection with this work and mine, but now it is so clear – the cultural images we desire/cherish (beauty ads/family snapshots) and atrocity photos that have numbed us. There is a LOOK AT THIS in this combination that I strive for in Reverb and other of my works putting my family photographs in juxtaposition with my family photographs and self portraits.