#to.research

[aamjp]

http://www.cabinetmagazine.org/events/oddlots.php

https://duckduckgo.com/?q=brassai+language+of+the+wall&t=osx&iax=1&ia=images&iai=http%3A%2F%2Fmedia-cache-ak0.pinimg.com%2F736x%2Ff6%2F39%2Fd8%2Ff639d87d1bdd306437665f246b03224f.jpg

http://www.thedailybeast.com/articles/2016/08/22/the-strange-saga-of-jt-leroy-inside-the-greatest-literary-hoax-of-the-20th-century.html

http://untappedcities.com/2012/11/20/photography-walker-evans-subway-portraits/

http://www.beatstreuli.com/ikon-birmingham.html

http://grinch.lofter.com/post/f6086_bd8a063

https://books.google.com.au/books?id=uNhGAgAAQBAJ&printsec=frontcover&redir_esc=y&hl=en#v=onepage&q&f=false

https://translate.google.com/translate?hl=en&sl=zh-CN&u=http://grinch.lofter.com/&prev=search

https://www.amazon.com/gp/cart/view.html/ref=nav_cart

[aamjp]

Barry Pearce, 'Nolan’s Parallel Universe’ in Sidney Nolan

Pearce suggests that Ern Malley affair ("Fact and fiction, history and lies could be happy bedmates in the current modernist climate." — p. 31) was a leading factor to the Ned Kelly series << that super-duper excites me.

"Nolan told Brian Adams's that during the Ern Malley affair he was taunted by someone who said, 'I suppose the next thing you'll do is paint Ned Kelly'" 

Nolan links the black square of Kelly's mask to Malevich, Max Ernst (but uses it principally as a formal device) p 32. Pearce then links it to Moholy-Nagy, the curved heads of Albert Tucker, and Joy Hester.

To research: Goethe's 'Theory of Colours'

[aamjp]

http://www.grahamegalleries.com.au/index.php/judy-watson-the-holes-in-the-land-2015

[aamjp]

For further research:

“The latter is a major element in twentieth-century (and for that matter twenty-first-century) street photography,8 as for example in Walker Evans’s “subway portraits,” made with a hidden camera on the New York subway in 1938–41 (fig. 3),9 or as in the contemporary Swiss artist Beat Streuli’s tele- photo videos of moving crowds on thoroughfares or street corners in dif- ferent cities of the world, the filming taking place without the knowledge of those being recorded. (Streuli also makes photographs of individual pe- destrians on the same basis [fig. 4].)10″