This photograph was taken back in early June. DO YOU THINK THEY'RE STILL TOGETHER? Do you think she still smokes? Do you think he later took a Gotham Writers' Workshop class? Do you think they'll let me be their houseboy? WHERE ARE THEY RIGHT NOW? I'm guessing either at work or maybe just now leaving for the weekend with their respective spouses.
Photo by Kevin Dooley
If I had $29 million, I would fly to London and go to next week's Sotheby's auction and buy Picasso's "La Lecture," the 1932 painting that first depicted the face of his young muse Marie-Therese Walter, and take it home and hang it on the wall and just stare at it and stare at it until it struck me that I could make something so beautiful, too, and I would. And if I was in London already, I would go to the place and just snap a quick pic with my cellphone and do it that way.
Three months ago, I posed for my college graduation photo—the official one in front of an American flag, diploma in hand, ready to face the world. Since then the photography company has emailed me almost weekly, offering discount upon discount and before-it's-too-lates. But when the picture was taken, just seconds after I had crossed the stage and shaken hands, I was too delirious to smile, so instead I bit my lower lip. I mean I almost swallowed it. I don't know how it happened. Normally, I have no trouble smiling. But I remember at that moment that the muscles would not contract into a casual, triumphant smile, that my [...]
For this coming Sunday's New York Times magazine, Jeff Koons has apparently provided photographs of two bunnies. Just two days ago, the Times reported on the decline in work and income for professional photographers. After claiming that amateurs and their low pricing were hurting professional photographers, a claim that is total baloney-newspapers and magazines changed their rates and the amount of work they commissioned, is actually what happened!-the Times started to make sense: "Professionals are also being hurt because magazines and newspapers are cutting pages or shutting altogether…. And while magazines once sniffed at stock photographs, which are existing images, not original assignments, shrinking editorial budgets made them reconsider." [...]
Are you following this Errol Morris investigation into the photography of Walker Evans and pals? A new installment, part 3 of 7, went up last night and it is BONKERS. Basically it is about alterations-suspected or proven or even wildly obvious, in retrospect-in 1930s documentary work of the FSA photographers (Evans, Dorothea Lange, et al). Essentially, much of what we view now as documentary-and what we see in our minds as the visuals of recent American history-was actually pretty close to propaganda.