photography on Stephen Schenkenberg

Sun, 02 Jul 2023 09:40:14 -0500

“‘My Body Is a Clock’: The Private Life of Chronic Care,” a moving and arresting photo series + essay by Sara J. Winston:

Every 28 days, I point the camera toward myself to document my illness and care. I have used my time as a patient in the infusion suite, a place where I sometimes feel powerless, to reclaim my autonomy as an artist and photographer.

Tue, 30 May 2023 20:53:45 -0500

“A Korean American connects her past and future through photography”: A lovely first-person piece by Arin Yoon, published by NPR. Beautiful work.

Julie Blackmon and Convergences

Tue, 27 Dec 2022 21:33:06 -0500

In the mid–2000s, I was completely taken by the book “Everything That Rises: A Book of Convergences,” written by Lawrence Weschler and beautifully published by McSweeney’s. Weschler surfaced “strange connections” between images and wrote about them intriguingly. I still think of the book when I come across an image — a photograph, a painting, a movie moment — that brings to mind another one.

I spent part of this evening with Julie Blackmon’s absorbing book of photographs, “Midwest Materials.” Blackmon has some intentional allusions in her photographs, but others I think just come from the consciousness of the viewer.

There’s something, for instance, about the turf and peculiar (and menacing) objects in her photograph “Spray Paint” that brings to mind Bong Joon-ho’s “Parasite” (picture the poster, and the final 30 minutes).

Or, seen below, “Snow Days,” which immediately brought me back to a moment in Tarkovsky’s “Mirror,” which I recently rewatched and posted about early in the month:

I realize there’s a risk in it seeming like I’m undervaluing the originality of one work by graphing it over another. But one of the pleasures I get in taking in art of all kinds is not just the pieces themselves — which I’m grateful for individually — but for how they intermingle in my mind.

Venice

Fri, 19 Aug 2022 22:13:29 -0500

I’d been told I’d be wow’d by Venice, and I was. The light, the water — everyone was right. The textures, the weathered colors. Everything snug. The dimensions of every view. Already, just two weeks home, I’m thinking of how and when we can return.

Mon, 30 Jul 2018 22:26:00 -0500

Our house suddenly feels warmer with the recent arrival of this 1963 Wurlitzer Spinet. Props to the kind folks at [http://www.jacksonpianos.com](Jackson Pianos).

Sat, 07 Apr 2018 15:38:00 -0500

Mona Hatoum’s “Hair Necklace,” shown in a slide from her packed-house talk today @pulitzerarts.

Sun, 31 Dec 2017 20:24:00 -0500

SLAM’s impressive German collection has this effect on a lot of visitors.

Tue, 26 Dec 2017 19:11:00 -0500

Sun, 19 Nov 2017 18:26:00 -0500

Family fun in KC. Thanks for joining us, @fourletter — and for the 📷!

Teju Cole in Words & Pictures

Sun, 06 Aug 2017 21:38:00 -0500

I loved every minute I spent with this beautiful, poetic, searching, confident book.

Gregory Crewdson:

Sun, 25 Jun 2017 21:41:00 -0500

I can still remember encountering Crewdson’s work for the first time in The New York Times Magazine more than a decade ago. Original, absorbing and haunting. Today’s “Monocle Weekly” interview with him had me heading to his website, which alerted me to this documentary.

The Leaves Outside

Sun, 21 Oct 2012 19:46:34 -0500

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