Krzysztof Kieślowski (Paris,1992)
Why Moments Matter
2563 by Todd Hido
“It feels like a memory,” [Spike Jonze] says, raising his fingers toward the photograph. “The mood of a day without the specifics. A memory of this girl, in this beautiful, funny forest.”
When Jonze started to write his newest film, he made a small editorial addition to the image—a ragged piece of a yellow Post-it note that he stuck on the glass over the photograph. Then he took it off, replaced it with another, and then another. On the one that he finally decided felt right, he had written three lowercase letters in black marker: her.
Spike Jonze explaining the effect of a single Todd Hido image.
One of the problems inherent in the medium of photography is that it doesn’t do abstraction well. What the majority of the viewing public appreciates is a declaration of fact: an easy aesthetic access point to the content of a photograph.
Saul Leiter, however, did abstraction well. Color, shape, shadow are not fixed facts in Leiter’s photographs, they bleed and reconfigure one another constantly. The subjects of his work are amorphous, but the photographs are never pure form.
From Teju Cole’s memoriam in the New Yorker:
"One of the most effective gestures in Leiter’s work is to have great fields of undifferentiated dark or light, an overhanging canopy, say, or a snow drift, interrupted by gashes of color. He returned again and again to a small constellation of subjects: mirrors and glass, shadows and silhouettes, reflection, blur, fog, rain, snow, doors, buses, cars, fedoras. He was a virtuoso of shallow depth of field: certain sections of some of the photographs look as if they have been applied with a quick brush. It will come as no surprise to a viewer of his work that Leiter was also a painter, that his heroes were Degas, Vuillard, and Bonnard, and that he knew the work of Rothko and de Kooning well. There are points of contact between his work and that of photographers like Louis Faurer and Robert Frank, the so-called New York School; but Leiter was an original. He loved beauty."
Read the rest here:
Justin Thomas Leonard. From Zulu Time.
REVIEW: Viviane Sassen – “Etan & Me” (2013) [via AMERICAN SUBURB X]
A review of Viviane Sassen’s new book of dueling portraits. Sounds and looks phenomenal.
Robert Altman’s “NASHVILLE” Film Poster
One of the best movies of the 1970s is about to come out in a Criterion Collection edition.
phaedra call. 2013.
— Stanley Cavell, The World Viewed: Reflections on the Ontology of Film (via somenotesonfilm)