jennilee:

cosmic latte #fff837: the average colour of all of the light in the universe

from nasa apod

(Source: apod.nasa.gov)

jennilee:

“Whether or not he has been influenced, every photographer legitimately claims every image he makes as uniquely his own. After all, even the acceptance of certain influences and the rejection of others is determined by- and revealing of- the photographer’s background, circumstances, temperament, sensibility, and self awareness. Each viewer must decide for himself exactly how interesting he finds the claim that the photographer has staked, at which point the subjectivity of the viewer’s taste and his knowledge of the history of photography come into play.

The choice of subject matter, even if it has already been exploited by someone else, is a statement of personal vision at a given moment, whether the tangible result of that vision strikes the viewer as innocent, calculated, trite, or revelatory. One sure sign of genius is the talent for giving new life to subjects, styles, and ideas that everyone else thought were exhausted. It is, in fact, precisely this revivifying spark that we seek most assiduously when we look at art. Doing something passionately can count for much more than simply doing it first-although real innovation, however crude, is never without a certain passionate brilliance.”

From Double Take, A Comparative Look at Photographs (1981) by Richard Whelan

(Source: )

lisuby:

Robert Montgomery

it took me far too long to find this image.

the perfect words to summarize what i am up to.

jennilee:

BOB NICKAS: Critics often ask, “What does the photographer bring to the picture? What personal history, what politics, biases, or obsessions?” The abstract photos raise another question entirely, although I think it’s true of all your work. We ask: “What do we, the viewers, bring to the picture?”

WOLFGANG TILLMANS: That is a challenge I’ve always taken. I want the pictures to be working in both directions. I accept that they speak about me, and yet at the same time, I want and expect them to function in terms of the viewer and their experience. With these abstract pictures, although the eye recognizes them as photographic rather than painted, the eye also tries to connect them to reality. There’s always this association machine working in the brain, and that is why it is important to me that they are actually photographic and not painted.

NICKAS: I see you as someone who is always thinking in the abstract. Whether it’s a person in front of you or chemicals in a darkroom, you’re looking at color, form, pattern, and visual coincidences. This is important to the way that you put a picture together—whatever the subject of that picture is.

TILLMANS: That’s very true. There is this looking at the world as shapes and patterns and colors that have meaning, and you can’t deny the superficial because the superficial is what meets the eye. The content can never be disconnected from the surface, and this active interest in surface can never be disregarded from the good art that we admire.

via Wolfgang Tillmans - Interview Magazine (2011)

Love this.

This is not real life.

I love this building.  Too bad all of the neat old buildings are getting torn down..

Vote.

I have a strange obsession with walls.  When I think about it the concept of building walls kind of baffles me.  I guess walls and I have a love hate relationship and I would much rather be outside of them rather than inside of them.

From the studio a while back….the beginning of how I got where I am now.  I can’t wait to see what happens next.