endthymes:

arthur kleinjan, paris looks. 1999-2001

Between 1999 and 2001, the artist spent hours perched in a balcony above the Sacré Coeur church in Paris, watching the people below. As tourists struck poses for souvenir snapshots, he would take a second photograph from behind.

“Sometimes it takes a few seconds for their friends to get the camera ready, and they suddenly don’t know what to do with their bodies. They ask themselves, what leg do I stand on? A bag, or a bottle of water should be out of the image, so they keep it behind their back. They design themselves into what they think is a nice picture … I wanted to show the moment of alteration, as the tourists transform themselves into an image. They seem very self-conscious about the way they look. Vulnerability is revealed. Their discomfort with their own body, as they stand there, is isolated in time and space, waiting to become a future memory.” (x)

(via euo)

vvni:

Production still from “Boy Factory”, 1969Vintage large-format black and white negativeSilver gelatin print16 x 20 inchesEdition of 3Printed in 2012
BOB MIZER | ArtifactsCurated by Billy Miller in conjunction with the Bob Mizer Foundation

vvni:

Production still from “Boy Factory”, 1969
Vintage large-format black and white negative
Silver gelatin print
16 x 20 inches
Edition of 3
Printed in 2012

BOB MIZER | Artifacts
Curated by Billy Miller in conjunction with the Bob Mizer Foundation

(via euo)

You just might not understand it yet. But it’s cool. Family is super cool. Going home to one girl every night is super cool. Just going home and getting on the floor and playing with your child is super cool. Not wearing a red leather jacket, and just looking like a dad and shit, is like super cool. Having someone that I can call Mom again. That shit is super cool.