mpdrolet:

From Prairieland
Dave Jordano

mpdrolet:

From Prairieland

Dave Jordano

(via bengc)

Ariko Inaoka’s photographs of twins.

Swoony.

http://www.aarriikkoo.com/top.html

francescopaolocatalano:

Dreaming a muse
Francesco Paolo Catalano, 2014

francescopaolocatalano:

Dreaming a muse

Francesco Paolo Catalano, 2014

neultrazine:

Jeff Luker

gyroscopeprints:

Seneca Ray Stoddard, via Kyle Ford.

The photography work of Maleonn.

Shanghai-based photographer, Maleonn, is probably one of China’s best kept secrets. His work can be scary, beautiful, and full of spirit. More importantly, It represents a crucial moment in China’s ever growing contemporary art scene. He’s also updated his site with a few new works since we last checked it out!

Maleonn’s story is one that is enshrined by infirmity. His father was Shanghai’s leading opera director at the time of his family’s banishment to a re-education camp during China’s Cultural Revolution. This single event not only resulted in a hard-scrabble childhood for Maleonn, who was conceived in the camp, but it also helped shape his sociopolitical views as an adult.

From this early life of hardship and constrained opportunity, Maleonn has emerged as a major cultural figure in 21st Century Shanghai.”
[Text courtesy of Juxtapoz]

http://www.maleonn.com

Finnish photographer Iiu Susiraja brings the absurd humor in her self portrait series “Good Behavior” which pushes the boundaries of what we expect portraiture to be.
http://www.iiususiraja.com/galleria/hyva-kaytos/

tobaccoflower:

robert frankuntitled (children with sparklers in provincetown)1958

tobaccoflower:

robert frank
untitled (children with sparklers in provincetown)
1958

(via ghostbread)

darksilenceinsuburbia:

Noah Addis

Future Cities

According to United Nations estimates there are more than a billion squatters living today—one out of every six people on earth. This number is expected to double to two billion by 2030. And by the middle of the century there will be three billion squatters.

 Future Cities is a series of photographs of informal settlements and unplanned developments in the world’s cities. These communities take on many forms, but they share a common history. People, mostly migrants from rural areas, came to the city in search of work. They were in need of affordable housing that could not be found on the open market. So they claimed a small piece of unused land and built a home. Other residents followed, and the result was a new community within the city.

 Although they face many challenges, these settlements are extremely creative and vibrant places and it would be a mistake to ignore them. Governments around the world have failed to take responsibility for this massive urban migration.  Many of the world’s squatters exist in a legal vacuum, working outside of the official economy and living with only tenuous rights to the ground on which they have built their homes.

 It is all too easy to look at the people who live under these difficult circumstances as victims. The reality is that the people living in informal communities throughout the world don’t need handouts or for people to tell them how to live. Instead, they have very specific needs. They need land tenure or a pathway to property ownership, which gives them a real stake in the new community they are building. They need access to credit and financial services, so that they can leverage their home ownership into capital that can be used to start businesses. They need education for their children along with basic utilities and city services, such as clean water, sanitation and electricity.

 Many of these needs are not currently being met as cities struggle with ways to deal with a rapid influx of rural migrants. Yet strong evidence suggests that when these basic needs are met, these new urban settlements can become thriving communities.

 My interest in photographing informal developments comes from the fact that these settlements grow almost organically to suit the needs of the people who live there. I am interested in looking at these communities to see what can be learned from them about urban planning and sustainable development. In addition, I hope to use the photographs from this project to raise awareness of the issues faced by the more than five million people each month who migrate from rural areas into the cities of the developing world. (artist statement)

A Tale of Motherhood in Julie Blackmon’s Playful Photographs

http://hyperallergic.com/154587/a-tale-of-motherhood-in-julie-blackmons-playful-photographs/

" It was only after Sage Sohier had been photographing gay and lesbian couples in the mid-1980s that she realized she had a personal connection to the topic. Her father, a World War II veteran and a Boston lawyer, had left her mother when she was a toddler, never remarried, but had live-in boyfriends on and off for the rest of his life. He never admitted he was gay."

http://mobile.nytimes.com/blogs/lens/2014/10/16/same-sex-couples-at-ease-at-home/

" Most copyright holders are individuals; most infringers are businesses. Things are broken."

"Of course, as we have become habituated to photography, we also become accustomed to projecting images: to imagining how photographs could be taken and how scenes are more or less photogenic. We also become accustomed to collecting images: to filling our phones and tablets and heads with expansive vistas, glorious sunsets, and thousands of small ornaments: raindrops on a leaf, leaves on the surface of a pond, the moon reflected in the dark water.

And that’s the hell of it, according to some critics of the medium. “