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I do not take a majority of the photographs that are posted here, but each image has a click-through link to its respective artist.
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29/1/12
Edna St. Vincent Millay, June 1914 by an unknown photographer.

Edna St. Vincent Millay, June 1914 by an unknown photographer.

28/1/12
by Jon Stuart

by Jon Stuart

Jackson Pollock, icon of the abstract expressionist movement, was born 100 years ago today. One of the first American artists to achieve a worldwide reputation, he’s still celebrated for radically challenging artistic conventions. “I have no fear of making changes, destroying the image, etc.,” he said, “because the painting has a life of its own.”

Jackson Pollock, icon of the abstract expressionist movement, was born 100 years ago today. One of the first American artists to achieve a worldwide reputation, he’s still celebrated for radically challenging artistic conventions. “I have no fear of making changes, destroying the image, etc.,” he said, “because the painting has a life of its own.”

27/1/12
25/1/12
Throughout the mid to late 1970s and upwards, Hiroshi Sugimoto packed up a folding 4x5 camera & tripod, surreptitiously entered matinees (and, one can only presume, evening film events) and documented the interior of movie theatres across the United States. He would open the shutter just before the ‘first light’ hit the screen and close it after the credits finished rolling and before the house lights came on. Using this method he was able to invert the subject/object relationship of the movie theatre and use the film itself to illuminate the proscenium and interior. This content, largely unaddressed critically, is what lends the images their incredible power — along wtih the natural fascination of being made privy to the photography’s divine birthright — allowing us to see the normally invisible, to experience a finite collapse of time.

Throughout the mid to late 1970s and upwards, Hiroshi Sugimoto packed up a folding 4x5 camera & tripod, surreptitiously entered matinees (and, one can only presume, evening film events) and documented the interior of movie theatres across the United States. He would open the shutter just before the ‘first light’ hit the screen and close it after the credits finished rolling and before the house lights came on. Using this method he was able to invert the subject/object relationship of the movie theatre and use the film itself to illuminate the proscenium and interior. This content, largely unaddressed critically, is what lends the images their incredible power — along wtih the natural fascination of being made privy to the photography’s divine birthright — allowing us to see the normally invisible, to experience a finite collapse of time.

“San Rafael, California, USA” by Ezra Stoller.

“San Rafael, California, USA” by Ezra Stoller.