LADY GA GA + TERRY RICHARDSON = OPTUR
I næsten 1 år 2010-11 har Terry fulgt Ga Ga HELT CLOSE på hendes Monster Ball Tour og skudt 450 fotos af den liderlige, talentfulde og exentriske poptøs, jeg bladrer løs og ville ønske det var mig der var hende. Bare en lille bitte smule. En gang i mellem.
Photography | Anika Lori
LUNGEBETÆNDELSES BORREDOM UDKRADS
1 uge på langs med lungbetændelse er nok noget af det mest røvsyge jeg nogensinde har været udsat for. Ikke fordi det ikke har været hyggeligt at kunne slappe af og lave absolut ingenting, hvillet jeg faktisk er ret godt til, MEN når man intet valg har er det som at være i fængsel. Jeg gik glip af min gode venindes 40 års fødselsdag, en køretur i Nadja og Christians nye autobil, Palmas 5 årige fødselsdag, de første forårsdage ude i solen, et meget spændende møde, en workshop, en tur på Fish Market med Jill og produktionen af mine allerstørste mesterværker vil jeg vædde på og Da jeg have det allerværst kunne jeg ikke engang overskue at være online! og Maden har ikke været noget at skrive om i denne uge. Men her er et lille udpluk af hvad min hjerne fangede af photos og sååårn på det altid fanstastiske world wide web
Photography | Anika Lori
FASCINATION/MARTIN PARR
Martin Parr (born 24 May 1952)
is a British documentary photographer, photojournalist and photobook collector. He is known for his photographic projects that take a critical look at aspects of modern life, in particular provincial and suburban life in England. I dig him the most.
Photography | Anika Lori
GOODBYE HORSES
HEJ. I GÅR SPILLEDE JEG TIL EN FEST OG FALDT OVER ET HESTEHOVED VED INDGANGEN. JUST SAYING.
Photography | Anika Lori
FASCINATION/NOAM GRIEGST
Danish Photographer Noam Griegst.... View more here: X
Photography | Anika Lori
RANDOM HIGH BLACK N WHITE VINTAGE PHOTOS
-Ja og måske lidt inspiration til et kommende fastelavns outfit?
Photography | Anika Lori
FASCINATION/AUGUST SANDER
August Sander (1876-1964) was one of the 20th century’s greatest photographers. He spent his early career as a commercial portraitist in Linz, Austria, but began the huge group of photographs for which he is best remembered after 1904 or so, when his pictures underwent a change in style. Where he had once flattered the vanity of his subjects with beautifying effects, his new work was cool, remorselessly detailed, analytical and penetrating, a kind of counterpart, sharply Germanic in tone, to the expressive realism of the Frenchman Eugene Atget. In 1910 Sander moved to Cologne, mixing in the 1920s with the painters known as the Cologne Progressives. His output there epitomized one side of what, in the Weimar Period, would be called theNeue Sachlichkeit. This term has been used for a very wide range of German art and literature, from Thomas Mann’s Magic Mountain to the grotesqne caricatures of George Grosz and of Sander’s friend Otto Dix; it has of ten meant “reportorial,” indicating work visually cleaner and cooler than the high German Expressionism of the early 20th century, but it has also been used very differently, for visually extreme work that was thought “objective” in that it showed how rotten life had become. “Neue Sachlichkeit” is also applied to certain photographs of the 1920s, notably Albert Renger-Patszch‘s and Sander’s own, characterized by sharp focus, clear lighting, the absence of distortion and a seeming unemotionality. Nonetheless, traces of the angst that troubles most Neue Sachlichkeit painting can also be found in Sander’s portraits, which he made on large glass negatives and produced as gelatin silver prints.
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Photography | Anika Lori
