Daniel Augschoell

USDA Color Standards for Frozen French Fries ‘This fast,...

Thu, 09 May 2013 17:07:29 -0400

USDA Color Standards for Frozen French Fries

‘This fast, easy visual color reference helps ensure perfectly cooked fries every time.’

Les Blank, Werner Herzog Eats His Shoe (1980)

Tue, 09 Apr 2013 20:05:56 -0400

Les Blank, Werner Herzog Eats His Shoe (1980)

Junip, “Your Life, Your Call”

Mon, 08 Apr 2013 07:24:21 -0400

Junip, “Your Life, Your Call”

Hannah Whitaker, Imaginary Landscape No. 1 (Phrases 1 –...

Mon, 08 Apr 2013 07:20:43 -0400

Hannah Whitaker, Imaginary Landscape No. 1 (Phrases 1 – 4), 2012

Interview with Robert Adams

Mon, 01 Apr 2013 16:00:31 -0400

Interview with Robert Adams

Jocelyn Lee, Minor Stories “To be a teenager is to be...

Wed, 27 Mar 2013 20:07:43 -0400

Jocelyn Lee, Minor Stories

“To be a teenager is to be both beautiful and fragile simultaneously. Puberty engenders a radical physical transformation and psychological contradiction: it occasions the arrival of genital hair and breasts, stretching limbs and acne, coupled with ridiculous arrogance, identity confusion, sexual desire and colt-like beauty.

Adolescence is a unique period in one’s life in that the greater part of life is still to come and the sense of potential seems limitless. Yet, in actuality, every teen is grounded in the objective realities of family, race, gender, economics, and geography while managing the adolescent struggle with social anxiety, peer pressure and self-doubt. All of these forces create competing frames through which an adolescent must look in order to distill a self.

Adolescence is by definition a time of experimentation with fledgling identities that may or may not travel with us into adulthood. Minor Stories is my effort to illustrate the contemporary physical and psychological complexities of teenage experience in the United States. The teens photographed in Minor Stories range from the very privileged to those living in subsidized housing and are discovered in a variety of settings: from the alternately lush or denuded open spaces of rural landscapes, to the crowded domestic interiors and austere built environments of cities.

I am particularly interested in the way race and class entwine within a young person to delineate her horizons and the scope of things to come. One narrative strand of Minor Stories focuses on teen-age girls who live within a one-mile radius of one another in a highly gentrified area of Brooklyn, New York. While one set of girls attends a lockdown public school with weapon scanners at the entrance to the school, the other attends elite private schools. If we were to map the neighborhood at night, we would see the girls sleeping only blocks apart, perhaps dreaming similar dreams of limitless potential. The girls all walk the same sidewalks to school in the morning, but finally enter very different institutions in the effort to make their dreams a reality.”

- Jocelyn Lee

Read an interview with Jocelyn Lee in Issue 7 of Ahorn Magazine.

New issue of Ahorn Magazine.

Sat, 02 Mar 2013 18:44:19 -0500

New issue of Ahorn Magazine.

Jeff Brouws, October 21, 1995 Needles, California

Sat, 02 Mar 2013 18:42:01 -0500

Jeff Brouws, October 21, 1995 Needles, California

Sara Cwynar

Sat, 02 Mar 2013 18:40:55 -0500

Sara Cwynar

Back cover (digitized) of Travels in Alaska by John...

Fri, 25 Jan 2013 17:10:00 -0500

Back cover (digitized) of Travels in Alaska by John Muir

(via mythologyofblue)

Dana Lixenberg, from the series No Place Like Nome (via...

Fri, 25 Jan 2013 12:27:50 -0500

Dana Lixenberg, from the series No Place Like Nome

(via manymany)

Nick Cave & The Bad Seeds, Jubilee Street

Fri, 25 Jan 2013 05:54:19 -0500

Nick Cave & The Bad Seeds, Jubilee Street

Grant Willing, Untitled

Mon, 21 Jan 2013 19:13:39 -0500

Grant Willing, Untitled

Cornell University: World’s largest natural sound archive now fully digital and fully online.

Sun, 20 Jan 2013 15:40:28 -0500

Cornell University: World’s largest natural sound archive now fully digital and fully online.:

cornelluniversity:

“In terms of speed and the breadth of material now accessible to anyone in the world, this is really revolutionary,” says audio curator Greg Budney, describing a major milestone just achieved by the Macaulay Library archive at the Cornell Lab of Ornithology. All archived analog recordings in the…

John Divola, Dogs Chasing My Car in the Desert, Nazraeli...

Fri, 18 Jan 2013 15:42:00 -0500

John Divola, Dogs Chasing My Car in the Desert, Nazraeli 2004

The desert is not empty. However, it is vacant enough to bestow a certain weight to whatever is present. This is an extraordinary place, the unobstructed view to the horizon, the quality of the light, and that smell after it rains. Add this to a heightened awareness of your own presence and the desert can take on an existential quality.

And it’s quiet. Once, having climbed to the top of a very large hill to photograph, I was startled by the sound of the wind moving under the wings of a bird as it flew by. Hundreds of feet below and half a mile away a dog spotted me and started barking like it had just caught me climbing the back fence. No one sneaks up on a dog in the desert. A dog can hear your car coming for several miles and will see you coming almost as far away. By the time you arrive he has developed a level of anticipation.

From 1995 to 1998 I was working on a series of photographs of isolated houses in the desert at east-end of the Morongo Valley in Southern California. As I meandered through the desert, a dog would occasionally chase my car. Sometime in 1996 I began to bring along a 35mm camera equipped with a motor drive and loaded with a fast and grainy black-and-white film. The process was simple; when I saw a dog coming toward the car I would pre-focus the camera and set the exposure. With one hand on the steering wheel, I would hold the camera out the window and expose anywhere from a few frames to a complete roll of film. I’ll admit that I was not above turning around and taking a second pass in front of a house with an enthusiastic dog.

Contemplating a dog chasing a car invites any number of metaphors and juxtapositions: culture and nature, the domestic and the wild, love and hate, joy and fear, the heroic and the idiotic. It could be viewed as a visceral and kinetic dance. Here we have two vectors and velocities, that of a dog and that of a car and, seeing that a camera will never capture reality and that a dog will never catch a car, evidence of devotion to a hopeless enterprise.

John Divola, 2004

voraciouswolves: Wendell Walker (Acoustic) | Andy Shauf

Fri, 18 Jan 2013 15:30:43 -0500

voraciouswolves:

Wendell Walker (Acoustic) | Andy Shauf

Ed Ruscha, Woody, and the World’s Hottest Pepper

Thu, 17 Jan 2013 15:54:00 -0500

Ed Ruscha, Woody, and the World’s Hottest Pepper

Mike Brodie, A traveler lies in the grass, patiently waiting for...

Thu, 22 Nov 2012 16:23:08 -0500

Mike Brodie, A traveler lies in the grass, patiently waiting for a westbound train in Hauser, Idaho

Angel Olsen, The Waiting

Thu, 22 Nov 2012 15:31:09 -0500

Angel Olsen, The Waiting

1. Larry Sultan, from the series Pictures from Home 2. Harold M....

Thu, 22 Nov 2012 12:48:00 -0500

Larry Sultan, Pictures from Home

Harold M. Lambert, A studio portrait of a turkey

Bryan Schutmaat, Grays the Mountain Sends

1. Larry Sultan, from the series Pictures from Home

2. Harold M. Lambert, A studio portrait of a turkey sitting on a pumpkin, circa 1950

3. Bryan Schutmaat, from the series Grays the Mountain Sends