Art That Won’t Stop Talking, Manifesto by Julian Rosefeldt

Art That Won’t Stop Talking, Manifesto by Julian RosefeldtJulian Rosefeldt’s installation Manifesto features different characters, each one played by the virtuosic, versatile Cate Blanchett, reciting what Rosefeldt calls “text collages,” which are woven together from different artists’ manifestos under the heading of an artistic movement—Conceptual Art/Minimalism, for instance, or Situationism. The seams between the texts are hard to detect, and the seamlessness suggests something not only about the ways in which ideas and themes reverberate and cycle throughout history, but also about the artifice of historical periodization.


Read more here


For Julian Rosefeldt official website:

 Julian Rosefeldt: Manifesto Interview:

Henri Cartier- Bresson The Decisive Moment

This is a great documentary where Henry Cartier-Bresson talks about his craft



Kacper Kowalski : Stunning Pictures of Nature And Industry of Poland

Kacper Kowalski : Stunning Pictures of Nature And Industry of Poland

Kacper Kowalski flies and shoots solo around his home in Gdynia, Poland.

The post The Stunning Nature (And Industry) of Poland From Above appeared first on WIRED.

Kacper Kowalski will tell you there’s a beautiful sense of wonder in gazing at things from above. That’s why he takes to the sky in a paramotor to capture breathtaking views of Poland for his series Side Effects.

Read more here

Visit this exhibition at the Curator Gallery in NYC

Kacper’s website:


Some Videos on Kacper Kowalski

Aerial Photographs by Kacper Kowalski:

Side Effects:

Side effects from FuriaFilm on Vimeo.



A Review of David Shields War is Beautiful by Tim Parks

A Review of David Shield's War is Beautiful by Tim ParksIt’s hard to deny, as you leaf through the photos in David Shields’s War is Beautiful, that they do indeed very deliberately aestheticize their subjects, and hence anaesthetize the viewer; these are glamour pictures to be admired, rather than documentary images that give immediacy to violence and horror. “Connecticut-living-room trash,” is how Hickey sums it up. In short, we are a long, long way from the more sober black-and-white images that chronicled the Vietnam War in the same paper.

Read more about War is Beautiful by David Shields

David Shields’s website:

Dave Sandford Captures Lake Erie’s ‘November Witch’

The Spectacular, Rip-Roaring Waves of Lake Erie’s ‘November Witch’

The Great Lakes see some crazy storms in the winter. Photographer Dave Sandford wades out into the violent waters to capture them all their fury.

The post The Spectacular, Rip-Roaring Waves of Lake Erie’s ‘November Witch’ appeared first on WIRED.

For more on Dave Sanford here is his website:

Forty years ago the November Witch on Lake Superior sank the Edmund Fitzgerald and claimed 29 lives. Here is a news clip covering that event, footage and the famous song by Gordon Lightfoot  The Wreck of the Edmund Fitzgerald:








Henri Cartier-Bresson’s Decisive Moment to be Published Again

Henri Cartier-Bresson’s Decisive Moment to be Published Again

Within the canon of European photography books it would be difficult to find one more famous, revered and influential as Henri Cartier-Bresson’s Images a la Sauvette or, as the American edition is titled, The Decisive Moment. Upon its release in French and American editions in 1952, Cartier-Bresson received personal letters affirming its brilliance from the likes of Jean Cocteau, Alexey Brodovitch, Carmel Snow (then editor of Harper’s Bazaar), and Joan Miro. The French edition publisher Stratis Eleftheriadis (known simply as Tériade) claimed it was “one of the most satisfying books that [he] had had the pleasure of making.” Its value as an out-of-print collectable has risen over the past few decades resulting in keeping this masterpiece out of the hands of many younger photographers. Finally, after 62 years, it is again seeing the light of day this December with a gorgeous facsimile from the German publishing house Steidl.

The Decisive Moment by Henri Cartier-Bresson

Courtesy of Steidl

The Decisive Moment by Henri Cartier-Bresson will be reprinted, for the first time in 62 years, in early 2015.

Henri Cartier-Bresson had an early interest in the photo book as a public vehicle for his work. In a letter to Marc Riboud he wrote, “Magazines end up wrapping French fries or being thrown in the bin, while books remain.” As early as 1933, Cartier-Bresson had begun one of many different proposed book projects with the intent to publish something of a monograph, but all had failed to be realized for one reason or another. Aside from a small exhibition catalog for an exhibition at the Museum of Modern Art in New York, The Decisive Moment was Cartier-Bresson’s first real book.

Initial mentions of the project came in May of 1951 with an assistant at the Magnum Photos office in Paris gathering images for the literary agent Armitage Watkins to show to a possible publisher – Richard Simon of Simon and Schuster Publishing. By June, Cartier-Bresson was in his own discussion with Tériade in France about a French-American co-edition between Tériade and Simon and Schuster Publishing. By the end of that year, the photographer had begun mining his archives for the photographs, editing and sequencing them and by March of 1952, three copies of a dummy were prepared. It was one of these book dummies that Cartier-Bresson had shown to the artist who would design and paint the exquisite and notably ‘non-photographic’ cover boards – Henri Matisse.

The final edit of 126 photographs taken between 1932 and 1952 appear roughly chronological but divided in the book into two sections – the first section (with exception to two images) corresponds to the years 1932 to 1947 and comprising photographs from Western countries and the second (with one exception) between 1947 and 1952 with photographs made in the East – China, India, Indonesia and the Middle East. According to Clément Chéroux, who penned this new edition’s informative essay on the book’s genesis, Cartier-Bresson’s decision to break the sequence into these two sections also corresponds to the formation of Magnum Photos in 1947, and subsequently, a moment in the artist’s life when he decided to commit himself to photojournalism. The photographer and theoretician Minor White noted his own opinions about the book’s division, “In his early work, form often dominates content,” adding, “the early pictures show a man more involved with his personal world than with the outer world […] The later work shows a decided preoccupation with content, the human, social or political meaning – his outer world.”

On July 22, 1952, the book went to press and 10,000 copies (roughly 3,000 French and 7,000 English language copies) were inked in heliogravure by the best printers of the time: the Draeger brothers. The results were so outstanding that Walker Evans in his New York Times review wrote of the book’s “breathtaking quality.”

Three months later, the book was released to critical acclaim and solidified Cartier-Bresson as one of the great photographers of his time. In contrast with its solid reviews, the modestly priced $12.50 book sold only fairly in the United States at less than 100 copies per month of the 3,500 copies initially distributed to bookshops – a previously expected second printing was therefore cancelled.

Even though the passing of time had established The Decisive Moment as one of the most important books of the second half of the 20th century, Cartier-Bresson himself had reservations regarding allowing a second edition and it remained out-of-print. It was Martine Frank, Cartier-Bresson’s wife who after long conversations with the HCB Foundation, Cartier-Bresson’s daughter and publisher Gerhard Steidl, decided that this 2014 facsimile should finally be published.

Like the original, this 2014 edition will be also published in French and English editions, both following the 1952 layout faithfully. “We were in the lucky position to have been able to scan a mint copy of the book from the Fondation Henri Cartier-Bresson,” says publisher and printer Gerhard Steidl.

One difficulty facing any modern printing is that the remarkable gravure process that marks the original is now virtually extinct. “The gravure printing from the 1950s to the 1970s was really the quality peak for printing photography books,”Steidl tells TIME. “Today this technology is practically gone, no machines exist anymore. I’ve researched and made test-prints over many years to hone an offset technology to get exactly the same look as gravure printing. We use a special screening, particular inks, and a printing formula which [remains] my secret.”

For new generations of photographers and artists who have missed out on experiencing many of the world’s important books first hand, it cannot be stressed enough how important this new edition of The Decisive Moment is for a contemporary audience. “Robert Frank’s The Americans and Cartier-Bresson’s The Decisive Moment were published within a few years of each other in the 1950s and both books have since become the blueprint for the modern photography book,” Steidl says. “When you look at them, the design, the sequencing of the photos and the printing are – even 60 years later – much better than most of the printed books on the market today. My intention in reprinting both has been to analyze the contents of the books, the intention of the photographers, and to print them in exactly the same way, so the next generation can see how these fine books were made and secure the future of photography publishing.”

The Decisive Moment by Henri Cartier-Bresson will be published in Dec. 2014 by Steidl.

Jeffrey Ladd is a photographer, writer, editor and founder of Errata Editions.

The Brilliant Paintings of Ajanta Caves

The Brilliant Paintings of Ajanta Caves


William Dalrymple chronicles the history and the theological significance of the paintings from Ajanta Caves in this article for The New York Review of Books. 


In 1819, a British hunting party in the jungles of the Western Ghats had followed a tiger into a remote river valley and stumbled onto what was soon recognized as one of the great wonders of India: the painted caves of Ajanta. In time it became clear that Ajanta contained probably the greatest picture gallery to survive from the ancient world.

Read more about the Ajanta Caves here

Jean Francois Lepage and Experimental Photography

Jean Francois Lepage and Experimental  Photography

Jean-Francois Lepage is a photographer whose working methods are closer to that of a painter. His paradoxically alluring and disquieting photographs bare evidence to a process in which he physically cuts, draws and works into their surface to intricately evolve and brutally deconstruct the original image.

“I always thought photography was not only about taking an image of someone or something, showing an instant,” he tells TIME. “I think that unconsciously I try to extend the time, to prolong the moment of the shooting when I’m working later on my images. Cutting, engraving this inanimate matter, using staples to fix the pieces of film together – it is certainly a way to refuse the death of this instant.”

Lepage’s intuitive approach to the image-making process is cathartic. “I’m like a surgeon who faces his patient with lucidity and commitment but with the absolute certitude that the only person I can really save is – myself.”

Over the past three and a half decades, since his first published images appeared in Depeche Mode, he has chosen to work sporadically for editorial and advertising clients, while taking time—including a 13-year period of abstinence from commercial environs—to pursue his art through painting in a purer form.



L’oiseau, 1987

While Lepage’s early photographs were visceral and dark—including sexual images that could not be reproduced in a commercial editorial context—he found like-minded collaborators including art director Grégoire Philipidhis at the short lived, but highly influential Jill magazine in Paris. Philipidhis embraced his work and gave him the freedom to express himself within its pages.

Subsequently, Lepage has maintained his distinctive voice as his imagery has evolved. “I would compare my creative process to a never ending spiral. I do have different periods that are representing my whole personality,” he says. “I need this raw part to my work as well as the poetic approach which is also important for me.”

After his self imposed exile from photography, Lepage returned with a new approach, moving outside to work on a series of stories for AMICA magazine. In his work, Lepage intentionally shows the source used to light his subjects, and to “compose and balance his light with the Sun to create a new perspective.”

As Lepage moved away from the monochromatic palette of his earlier work, a dark undercurrent prevailed. “When I look at my images I see overly bright colors that are hiding our sadness – people who are wearing masks to reveal themselves – lonely characters strong and peaceful – mutilated forms that show human beauty and eyes turned inward to better understand our world.”

More recently he has begun to pull away from fashion once more. He is currently making new work, recycling photographs from his archive to build new pictures—finding his palette by cutting up outtakes from his old shoots of now discontinued 8×10, 891 Polaroid from the 1990s, to make work which he describes as still “photographic but more abstract.”

“It is like in life, some people are experimenting when they are young and they become more and more conventional with time [while] a few others will always continue to experiment,” he says.“I think the world is always limiting for people who want to propose something different. On the other hand it’s also because the world is limiting that they can experiment.”

To view the entire Jean Francois Lepage slideshow click here: 

Jean-Francois Lepage is a photographer basedin Paris. His work is widely seen as blending elements of cinema, surrealism, and haute-couture.

Phil Bicker is a senior photo editor at TIME.

A Morgan Freeman Digital Painting by Kyle Lambert

A Morgan Freeman Digital Painting by Kyle Lambert

Using just an Ipad and with almost 300,000 brushstrokes, Kyle Lambert claims to have created the world’s most realistic finger-painting, an honor which he bestows to Morgan Freeman. Below is the original video of his painting process, with a very catchy soundtrack. This video has had more than 8 million online views.  Mr. Lambert was inspired by a photo of the actor by Scott Gries and claims to have spent more than 200 hours for this painting. Many dissenters claim Mr. Lambert to be a fraud who has just used a tool called Procreate to draw a realistic portrait.


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