University of Michigan fraternity party, 1949, a photo by Stanley Kubrick for LOOK magazine
WHAT AM I DOING?
Andreas Feininger’s striking 1951 portrait of what, at first glance, might be a cowled cyborg — complete with mismatched lenses for eyes — is one of LIFE magazine’s most recognizable and frequently reproduced pictures. With its masterful manipulation of shadow and its perfectly Feiningerian melding of the human and the mechanical, the photograph remains one of those images we feel we’ve known all our lives.
In fact, though, most of us likely know very little about why or how the photograph came to be.
Audrey Horne, Twin Peaks.
In Dreams - David Lynch Exhibition, Spoke Art, San Francisco.
The show opens March 8th, online sale begins soon after.
Tattoos (real and/or photoshopped alike) have become a favorite of the Internet. And now a brilliant digital artist by the name of Cheyenne Randall has dedicated a whole Tumblog to photoshopping the some of the sickest of tattoos onto a fun mix pop cultures most notable people. Hipster paradise. More after the jump:
After happening to see it projected at MoMA last year, I’ve been haunted by the collage of stunning images that is Reynold Reynold’s 2002 short film, titled Burn. And for the filmmaker, whose background lies in philosophy and physics, he impresses his scientific methods and the knowledge of how the slightest alternations can have a penetrating impact into his work. Employing a cinematic language rife with decay and transformation, he “transfers experimental methods of science to filmmaking, where he frames reality in his laboratory and changes one variable at a time to reveal an underlying casualty.”
Working with mainly 16mm as his medium, Reynolds’ Burn evokes a strong sense of drama through its anti-narrative structure, allowing us to have our emotions heightened by the collapsing world of the characters, rather than their response to it. In the short, we observe as a house burns room by room, object by object, from the inside out, as the people inhabiting it seem to carry on about their business. As the flames rise and the people inside the home sit idyl, it’s a haunting and poetic immersion into Reynold’s affinity for allowing his audience to observe the “small frames we use to understand reality” and the delicacy with which they’re altered.