Klara Lidén, Untitled (Dumpster Dino), 2011 (top), Untitled (Dumpster 10547), 2011 (bottom). via WFW from her solo show at the New Museum.
Kon Trubkovich, Untitled, 2007. Via cheatingdeath
![Harriett Shepard and Lenore Meyer, Posing for the Camera, Hastings House, 1960.
“HEAD. Head placement, with a purpose, tells a story or creates au [sic] impression for the viewer even before the face gets into the picture. As the head turns, its very outline communicates mood and prepares the viewer for the message that the expression will carry. A lift of the head may suggest hope or assurance; a drop … pensiveness or sadness; a tilt … concentration.
Extreme positions of lift, drop and tilt have an emotional quality usually associated with feminine or juvenile characters; conversely, conservative positions with but slight lift, drop or tilt give the impression of restraint, stability and strength.”
From issue [12.2] of the wonderful The Diagram](http://25.media.tumblr.com/tumblr_m3gyvwUS7R1qzuwdmo1_500.jpg)
Harriett Shepard and Lenore Meyer, Posing for the Camera, Hastings House, 1960.
“HEAD. Head placement, with a purpose, tells a story or creates au [sic] impression for the viewer even before the face gets into the picture. As the head turns, its very outline communicates mood and prepares the viewer for the message that the expression will carry. A lift of the head may suggest hope or assurance; a drop … pensiveness or sadness; a tilt … concentration.
Extreme positions of lift, drop and tilt have an emotional quality usually associated with feminine or juvenile characters; conversely, conservative positions with but slight lift, drop or tilt give the impression of restraint, stability and strength.”
“TWENTY YEARS AFTER THE SO-CALLED RODNEY KING RIOT, we can do little more than commemorate the deliberate reign of ignorance that has deflected every attempt to understand the deep causes of the complex events that unfolded in the last week of April 1992. Everyone, of course, will agree that the acquittal of King’s assailants was the proximate cause or signal for the volcanic social eruption that followed.
[…]
The media, largely helicopter-borne during the turmoil, defended their high altitude reportage by distinguishing between the criminal instigators and arsonists (Black gangs) and the mere opportunists (Latino looters). The piece de resistance was the footage of hapless Reginald Denny pulled from his truck at the corner of Florence and Normandie and assaulted by Damian Williams and other OGs from Eight-Trey.
This became the defining image of the “riot” and Williams, who fractured Denny’s skull with a brick, its definitive villain. The narcotic-like repetition of the footage of the Denny beating on television, moreover, erased most of the white guilt over the King beating.
But the apparent symmetry between the two attacks was an artifact of the systematic decapitation of cause from effect in most coverage, both television and newsprint.”
—Mike Davis, The Embers of April 1992. LARB
L.A. RIOTS / 20 YEARS
April 29, 2012
“Hard to imagine I took these pics from my parents backyard when I was 17.
The 2nd pic with the darkest smoke plume is Samy’s Camera on fire when they were located on
Beverly and La Brea. I actually bought the camera that took these pictures there.
The #1 song in the U.S.A. on this date in history, according to Billboard magazine was
Jump by Kris Kross.
I guess not much has changed:
I still live in L.A.
I still take pictures.
I still go to Samy’s and wish I could loot it.
I most definitely still listen to rap.
I love you Los Angeles.”
—Zen Sekizawa. From her blog
Catalog #: 08_001435. Image of the surface of Mars taken by the Mariner 9 in 1971. From the archives of the San Diego Air and Space Museum. Via xplanes
Catalog #: 08_001438. Image of the surface of Mars taken by the Mariner 9 in 1971. From the archives of the San Diego Air and Space Museum. Via xplanes
[video]
Claudia Klat, from the series Kreis 5. Work
Tanner & Vandine Architects. 999 Brannan St. in San Francisco, site plan, 1986. Via betonbabe