Wrenwork
Monday, December 13, 2021
Tuesday, December 7, 2021
Saturday, September 11, 2021
Finding the last analog photo booths in the country.
A couple years ago, when I first began collecting snapshots and photo booth images, I started to wonder where all the photo chemical booths had gone and if any still remained. In a bit a luck, while planning a trip to Chicago in December 2020, I checked the photobooth.net locator and found the most recently updated listing (3.5 years prior) at Quimby's Bookstore. After giving the store a call and excitingly receiving confirmation that the booth was still up and running, I visited Quimby's not once but twice during my trip. Producing 4 strips in total, each costing $4 and taking around 5-7 mins to develop, I happily recreated (sometimes quite failingly or sillily) some of my favorite poses.
Monday, March 15, 2021
Migratory Cotton Picker, Eloy, Arizona
Friday, December 11, 2020
Looking at: Beautiful Coincidences
Wow, it's been quite a while since I've made a post. Which in all honesty seems to be the pace around here; short bursts of posts every couple of months or so. None the less, I'm still here.
This evening I wanted to take a moment and highlight a beautiful coincidence that I happened onto this summer. In July, I had the joy of visiting my close friend Marie in Oregon for a costal/rural road trip. This was my first time in Oregon and the farthest West I have gone in my life. One of the many features I discovered during our excursion was the abundance of wild flower fields along rural highways.
On our second day of travel, leaving from Eugene towards Devil's Punchbowl, I coaxed Marie into climbing through one of these fields for the sake of a few pictures. I snapped a few Polaroids as well as digital for about 10 minutes or so, climbing through prickly, sometimes waist high grass. It was about this time Marie began complaining of some severe itching and we carefully climbed out of there.
Back on the road, I pulled out the images from where they sat safely tucked in my pocket, shielded from the summer sun. Shuffling through the pictures, one stood out. Marked by the distinct summer hue of a warm Polaroid, was a picture of Marie. Her eyes closed, cheek slightly rotated with flowers just ever so slightly draping over her.
I went on to take a couple dozen or so more Polaroids on that trip but none quite as alluring as this.
Marie in roadside flower field. Oregon, July, 2020. |
The trip into the fields and another like it led Marie and I to discover her allergy of tall grasses. Oregon, July, 2020. |
My cover of Intimacies. |
Wednesday, October 14, 2020
Looking at: Grave II
I hope to have some longer form writing here in the future. At the moment I'm head first in the life and work of William Christenberry, a great hero of mine. I just wanted to take a moment and share this wonderful painting, Grave II (1964). It depicts a scene that was often the subject of Bill's little color snapshots, those colorful graveyards so frequently found on Southern backroads.
William Christenberry, Grave II, c. 1964, Oil on canvas. |
In The Early Years 1954-1968, Christenberry offers greater context for this piece:
"I was at that graveyard, which I go back to to this day. After all these years I continue to go back to it. And I'm there and one of those late spring monsoon-like rain showers comes up. He went to his car. parked a few feet away, and waited for the shower to pass. "The sun comes out and the landscape is literally steaming. And here is this wreath on a fresh mound of red earth, this fresh grave. This wreath of flowers was made out of crepe paper. That wreath is literally dripping lavender, blue and pink dyes. It is dripping color."
William Christenberry, New Grave--Havana, Alabama, c. 1978. |
William Christenberry, Grave, Windy Day, Stewart, Alabama, c. 1964. |
William Christenberry, Untitled (Wreath on Tomb), c. 1977. |
All the best,
Sunday, October 11, 2020
Listening to: Little Wooden Church
Monday, October 5, 2020
African American Snapshots, James Van Der Zee, an Original Print?
Sunday, October 4, 2020
Lee Friedlander Photographs William Christenberry
I have long been a serious admirer of Lee Friedlander and William Christenberry. Lee for his enduring, unique vision and Bill for his significant contributions to Southern visual arts. Coincidentally the pair had been decades long friends which, in true Friedlander fashion, he unwaveringly documented. In reading more about their relationship I came across this portrait of Bill taken by Lee, which immediately struck me as a testament to Lee's status as a master portraitist.
The print has a contrast I would consider uncharacteristic of a Friedlander photo, likely attributed to the incoming beams of late afternoon light. Bill's frozen, pensive stare evokes the feeling of an action interrupted by a sudden realization. You can spot where Lee dodged Bill's hand and arm to emphasize his frozen posture.
I especially love the peaked highlights on Bill's forehead and cheeks — in parallel to the glowing orb of the lamp — intensified by the shadows of blinds.
Lee Friedlander, William Christenberry, c. 1990 |
I really enjoyed writing this little piece and really hope to do more like this in the future. I would like to get better at writing about photography and photos, especially so that I can write lengthier pieces. So far I feel like I have a lot of ideas but I can't quite put my finger on how to write about their impact, emotion, etc. Anyways, I hope you enjoy this one.
Thursday, September 10, 2020
Thinking Of: A New Photo Idea
In a recent meeting of my Book Arts & Editions course we had a remote interview and studio tour with artist Antonia Contro. Above her studio sink I noticed a photo on stretched canvas which she explained to me was simply an accordion folded paper in the shape of a cone or tent.
However straight forward and believable that explanation was, it was not satisfactory with what I saw. Instead, trough my grainy Zoom connection, what I interpreted was much less mundane. The image appeared to show a small figure with their upper body/head completely dwarfed by this enveloping dress with perfect folds and what I imagined to be a tulle torso. The head appears slightly askew with long dark hair.
The absolute contrast in size between the imagined head and dress creates an incredible illusion of scale in mind. Since then I've haven't been able to stop thinking about how to recreate my perceived image. For now this is what I have to work from:
Monday, July 27, 2020
Alec Soth's Favorite Photo from NIAGARA
Melissa, Flamingo Inn, c. 2005 |
Saturday, July 25, 2020
Thinking of Charles White
Love Letter III |
I Had a Dream |
Goodnight Irene |
Our War |
Name Unknown |
Name Unknown |
Banner for Willie J |
Preacher |
Mary McLeod Bethune |
Charles White, c. 1950 |