Stagger from light to dark, blood rushing in on me.


Agecroft Powerstation, Salford, 1983
John Davies


Agecroft Powerstation, Salford, 1983

John Davies


An old camera and current folk musicians make for striking portraits.

Learn more about Lisa Elmaleh’s photos over at The New Yorker.

(via jeanfivintage)


Pencil, Ink and Gouache on Paper by Moises Mahiques


(nostalgia) - Hollis Frampton, 1971

this is a great way to demonstrate the limitations and alternate dynamics of these sorts of film screen-grab series that i like so much on tumblr. Frampton’s work in (nostalgia), in a performative sense, is completely dependent on the delayed narrative soundtrack that alludes to the images which are to follow the ones on screen. so by removing that performative context and placing the images by themselves the images regain their own temporality. in many ways these tumblr posts recreate the memories one might have of a film, but in this case you can see more easliy how those synthesised memories (whether real or not) do not correspond directly with the filmic text but rather the more singular narrative logic of the images themselves. this picture of Frank Stella then gains a different value, becoming almost a visual pun, and refusing nostalgia outright through its own destruction  without the personal contextualization that Frampton provides

(via experimentalcinema)


Vivian Maier

From Self-portraits


A proud mother greeting her son, returned home from fighting the Great War in Europe. “Like the little city of three hundred years ago,” the Times Magazine reported in 1953, when this picture was reprinted, “the present world capital represents an aspiration: it anticipates the future.” The spread, lavishly illustrated, traced New York’s history from a mercantile town of 800 to a bustling metropolis of 8 million at the time. “Today as the capital of the world not yet in being, it is a hostage to hopes, visions and dreams.” Photo: Times Wide World Photos

(via darksilenceinsuburbia)