the threshold of the visible

stop. turn around slowly. now look again.

01.-
02.-
03.-

April 16, 2014 at 4:32pm
2 notes
Peter Puklus, from his series The Epic Love Story of a Warrior. Via Self Publish, Be Happy

Peter Puklus, from his series The Epic Love Story of a Warrior. Via Self Publish, Be Happy

12:16pm
112 notes
reblogged from grupaok
A major new broadside from Research and Destroy on the new crisis in the cities: “Land and Liberty.” [image altered from news photo, Detroit 1967] via grupaok

A major new broadside from Research and Destroy on the new crisis in the cities: “Land and Liberty.” [image altered from news photo, Detroit 1967] via grupaok

April 11, 2014 at 2:09pm
3 notes
Wolfgang Tillmans, Faltenwurf (Cubitt Edition), 2000. Via

Wolfgang Tillmans, Faltenwurf (Cubitt Edition), 2000. Via

April 8, 2014 at 9:43am
12 notes
reblogged from iamdanw

“In the last post, I proposed that 21st Century “photography” has come to encompass so many different kinds of technologies, imaging apparatuses, and practices that the kinds of things we easily recognize as photography (cameras, film, prints, etc.) now actually constitute an exception to the rule. I proposed a much broader definition – seeing machines. The point of having such an expanded definition is to help us notice and recognize the myriad ways in which imaging systems (including traditional cameras), and the images they produce, are both ubiquitous, and actively sculpting the world in ways that were unimaginable just a few decades ago. Moreover, I proposed that classical photo theory is of little use, and may indeed actually hinder, a broad understating of contemporary imaging systems.”

—Trevor Paglen III. Scripts  via iamdanw  via notational

April 7, 2014 at 7:13pm
9 notes
Raymond Pettibon, No Title (This brightness causes…), 2010. Via

Raymond Pettibon, No Title (This brightness causes…), 2010. Via

11:18am
1 note
Esther Teichmann, Untitled from Mythologies, 2013. Via 

Esther Teichmann, Untitled from Mythologies, 2013. Via 

11:08am
3 notes
The Gibsons of Scilly, The Mohegan, 1898. Via art-blart

The Gibsons of Scilly, The Mohegan, 1898. Via art-blart

April 5, 2014 at 3:59pm
0 notes
The Gibsons of Scilly, SS Tripolitania, 1912. Via art-blart

The Gibsons of Scilly, SS Tripolitania, 1912. Via art-blart

3:56pm
10 notes
reblogged from fette
fette:

Top, Tacita Dean, Ship of Death, from the series The Russian Ending, 2001, Photo-etching on paper, 45 x 68,5 cm. Via. Bottom, photograph by Alain de Rain, Untitled, 2014. Via.
See also.
—
Pinsons épaisseur picorent maîtriser dense épinette fourré. Dans les fourrés denses d’épinettes pinsons épais picorent efficace.

fette:

Top, Tacita Dean, Ship of Death, from the series The Russian Ending, 2001, Photo-etching on paper, 45 x 68,5 cm. Via. Bottom, photograph by Alain de Rain, Untitled, 2014. Via.

See also.

Pinsons épaisseur picorent maîtriser dense épinette fourré. Dans les fourrés denses d’épinettes pinsons épais picorent efficace.

3:55pm
136 notes
reblogged from justanothermasterpiece
Pierre Soulages, Untitled, 1973. Via justanothermasterpiece via scandinaviancollectors via notational

Pierre Soulages, Untitled, 1973. Via justanothermasterpiece via scandinaviancollectors via notational

April 4, 2014 at 3:02pm
1 note
Benjamin Swanson, from the series The Conquest of Materials. His site via Paper Journal

Benjamin Swanson, from the series The Conquest of Materials. His site via Paper Journal

11:07am
3 notes
Collier Schorr, Point, 2014. From “How Artist Collier Schorr Went from Objectifying German White Boys to Killing It in Women’s Fashion”, the review of her current show, 8 Women, at 303 Gallery via 032c

Collier Schorr, Point, 2014. From “How Artist Collier Schorr Went from Objectifying German White Boys to Killing It in Women’s Fashion”, the review of her current show, 8 Women, at 303 Gallery via 032c

9:32am
25 notes
reblogged from jaubouin

Jérémie Aubouin, Leipzig (Germany), September 2008 / Oranienburg (Germany), March 2012. Via  website  flickr

March 31, 2014 at 10:04am
15 notes
Thomas Struth, Blowout Preventer, Mountrail County, North Dakota 2010, 2010. From his current show at Galerie Max Hetzler

Thomas Struth, Blowout Preventer, Mountrail County, North Dakota 2010, 2010. From his current show at Galerie Max Hetzler

March 30, 2014 at 5:24pm
19 notes
reblogged from fette

fette:

Fette Sans, Untitled, 2014.

Why should I meet a second person, I may guess who, But I think it’s not a good Idea. I feel myself not representable to unknown persons. Nearly not the known ones.

It’s a strange business, speaking for yourself, in your own name, because it doesn’t at all come with seeing yourself as an ego or a person or a subject. Individuals find a real name for themselves, rather, only through the harshest exercise in depersonalization, by opening themselves up to the multiplicities everywhere within them, to the intensities running through them. A name as the direct awareness of such intensive multiplicity is the opposite of the depersonalization effected by the history of philosophy; it’s depersonalization through love rather than subjection. What one says comes from the depths of one’s ignorance, the depths of one’s own underdevelopment. One becomes a set of liberated singularities, words, names, fingernails, things, animals, little events: quite the reverse of a vedette.

Gilles Deleuze, from Negotiations, 1972-1990. Via.