Molly Dilworth

Erte

The rest of the house is plunged in darkness except for a few dimly lit shells that enable me to leave my worktable if I have to.  Everything is Focused on the brightly lit square of my table - a perfect aid to concentration.  Even my cats pretend to be sleeping: they know that I am working.  Being alone is vitally important for me and my work.  I am a solitary person, and this may explain why I have such a great love of cats.  Cats and I are very much alike.  The cat is a solitary animal, very independent, very quiet by nature.  Like Cats who hide themselves away when they are ill, I cannot stand people visiting me when I am indisposed.  I want to be left alone."

"Not Only do I do what I want to do, but I do my work in my own way and never have been influenced by another artist. The sole influences on my art, through the course of my entire career, were the Persian and Indian Miniatures and Greek vases I saw in my childhood at the Hermitage Museum in St. Petersburg (Now Leningrad).  I think that these influences have stayed with me to this day, although they were assimilated long ago."

"There was a rhythm, the way, the head falls here this goes back. There is a rhyme between different elements. There is a square here, rectangle and other rectangle...

....and photography is like that. Its yes, yes, yes. And there is no maybe. All the maybes should go to trash because it’s very instant, it’s the presence, it’s a moment, its there. And it’s a respect of it and it’s an enjoyment it’s a tremendous enjoyment of saying yes!.."-  Henri Cartier-Bression

Adam Friedman

“In my work I attempt to visualize the imperceptible geologic process by compacting millions of years into a single moment. Rocks bend and grow. Entire mountains crumble in an instant. And the environmental damage that human kind has left in their wake has long since healed. I’m drawn to how geologic processes (erosion, orogeny, etc) relate to our institutions (financial, governmental, etc). I strive to present an era that defies human intervention in the landscape. An optimistic view of the natural world, post human presence.” — Adam Friedman  

via Adam Friedman

Jul & Mat

French director duo Jul & Mat. Their work is super duper.


Ratatat - Party With Children - by JUL & MAT from JUL & MAT on Vimeo.

L'homme 100 têtes by JUL & MAT All rights reserved from JUL & MAT on Vimeo.

Metronomy - On The Motorway - by JUL & MAT from JUL & MAT on Vimeo.

Photofilia: David Hamilton

"But then they danced down the street like dingledodies, and I shambled after as I’ve been doing all my life after people who interest me, because the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn, like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes “Awww!” -Jack Kerouac - On the Road

Photophilia: Ernest J. Bellocq

 "In the early 1900s, Ernest J. Bellocq carried his 8 x 10-inch view camera across Basin Street to photograph the women of New Orleans' notorious district of legalized prostitution, Storyville. His private photographic project remained unknown until after his death, but eventually found its way to international acclaim. Yet virtually no prostitute portraits printed by Bellocq himself have surfaced. He kept his Storyville project secret from everyone except a few of his closest friends, and it remained secret until his glass negative plates were discovered languishing in a junk shop years after his death. 

In 1967, Master photographer Lee Friedlander acquired and began to make prints from Bellocq's glass negative plates, and the Museum of Modern Art hung an exhibition of them in 1970. Bellocq then took his place as the photography world's best-known photographer of prostitutes."

via americansuburbx