Retrospective

"Like all dreamers I confuse disenchantment with truth."

[sweetheartsandcharacters]

“The Deadly Mantis” (Nathan Juran, 1957).

[lessons-in-fortification]

Josef Albers Structural Constellation “To Ferdinand Hodler” 1954

[westside-historic]

[westside-historic]

North Santa Monica beach and the SM mountains in 1980.

Copyright: Carol Westwood

[terrorwoods]

Darvaza

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[secretcinema1]

Wyoming, 1964, Joel Meyerowitz

[historium]

The first press pictures of dead U.S. soldiers that was presented to the public, 1943

[hauntedbystorytelling]

Erich Hartmann :: “Guinness is good for you”, Pub at Dublin, Ireland, 1964

[sogothimdead-deactivated2020060]

Hopeless Painting by Roy Lichtenstein, 1963

Hopeless is derived from Tony Abruzzo’s panel from “Run For Love!” in Secret Hearts, no. 83 (November 1962), DC Comics

[thnkfilm]

“You’re not your job. You’re not how much money you have in the bank. You’re not the car you drive. You’re not the contents of your wallet. You’re not your fucking khakis. You’re the all-singing, all-dancing crap of the world.”

Fight Club (1999) dir. David Fincher

[bergdorfsworld]

[exasperated-viewer-on-air]

Wyndham Lewis - La Suerte, 1938

oil on canvas

24 × 18 in / 61×45·5 cm

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[last-picture-show]

Irving Penn, Freckles, 1960s

[visualobscurity]

Igor Stravinsky by Arnold Newman, 1946.

[archatlas]

The Secret Lives of Buildings

Marc Yankus’s dreamlike portraits of New York City buildings straddle a fine line between documentary and fiction. In “The Secret Lives of Buildings” he captures the city’s architecture in an uncanny moment of stillness, free from the frenzy of people and cars. The sense of quietude lends elegance to the structures, both majestic and humble. Yankus inspires viewers to see historical buildings with a fresh perspective, offering an idealized and even utopian version of the past, while other buildings are viewed through a lens of potential. In separate scenes, the decay of crumbling concrete, chipped-away paint, and remnants of deconstruction paradoxically inspire a sense of agreeable nostalgia. 

On view at Clamp Art in New York October 13 – November 26, 2016.

Images and text via + via

[red-lipstick]

[microphonefiend]

Mi-Young Choi (b. South Korea, resides London, UK) - Enlightenment, 2013     Paintings: Oil on Canvas