Pavilion Reunion


Hey, Alage! Let’s all meet up in the Belem park again next week. I’ll bring pictures from the last week of last year (and we can make better ones this time). You’ll probably think they’re fine, but there was a horrible mistake in the making of the negatives, so… let’s do “take 2.” Check your e-mail for dates.


Update: the parcel arrived, after two months.


Hope Springs Eternal


–Hendrik Willem Van Loon, 1938; by 2014, we arrive at this:

Q. o’ th’ D. from Sam Sifton

“Time famine grasps us all.”


As a bonus, we learn of the term “to spatchcock” here:

Street Walker


“If you are at all sensitive, which artists are supposed to be and usually are, it could make conditions psychologically impossible if you’re aware of people too much, so I just go about my business unless I find I really am hurting somebody. I am intruding mentally, but I know it’s not for a harmful purpose, and it doesn’t do anybody any harm. If I find myself opposed very strictly, I stop. There is no use getting into an argument about what you are doing. I walk away and think about something else and do something else.” -Walker Evans




Drop everything. Hie thee to Hevanston.



Richard Cahan and Michael Williams assembled the new book Eye To Eye (they previously produced Vivian Maier: Out of the Shadows) with photographs from the Jeffrey Goldstein Collection.



Perhaps you were there when Mr. Cahan spoke at BHS about the work of Richard Nickel a while back. He’s appearing tonight at Bookends and Beginnings, at the address of the old Bookman’s Alley, 1712 Sherman. Call before you go: 224.999.7722. There’s no better use of your time tonight.


Francis Bacon’s Bell Schedule


“There is no excellent beauty that hath not some strangeness in the proportion.”

W. o’ W.: Thomas Kellner

…from Facebook (reproduced here by permission):

“an artist statement to me has become a symbol, of

– uniformity

– sillyness

– undereducated viewers (including those who ask for)

but it is only the “artist statement”, not what the artist wants to say about himself and his work. It’s just this term that leads everybody wrong and I DO NOT WANT to see any more statements that come by like manuals for IKEA furniture.”


Perhaps he is referring to these sorts of art school jargon:

Here is Mr. Kellner’s own statement, addressing camera work in clear language.

“I want to break manifold ways of perception to my audience. My main interests have always been in finding strong visual languages that are powerful enough to tell us something about their subjects that more “realistic” images cannot do. Right from the beginning of my studies, my basic interest was in experimental and conceptual photography. I created different pinhole series, photogram work and printings in alternative techniques, such as cyanotype, saltpaper and others.

When Kodak Germany awarded me the Young Professionals Prize, I decided on a life in art and photography. In 1997, I finally started working on the contact sheet method to visually deconstruct architectural icons. My trademark style was born. Since then, I have been shooting prominent monuments all over the world. My images are asking to challenge usual perspectives – the buildings seem to be broken apart, dancing and remind us of the vulnerability of our values and creations.”