delayed cares motel, Joshua Lutz

sou de repentes. dependes. de pentes. serpentes, não resisti. mas a pouco e pouco ir vendo.
Joshua Lutz, via FOAM, e um site-expo para ver com calma.











"Joshua Lutz’s book Meadowlands was awarded one of the best books of the year in the
January/December 2009" (daqui)



'Joshua Lutz takes the New Topographics of Adams, Shore, and Sternfeld
into its current era of urban sprawl.' (The New Yorker) (daqui)

"‘As you can imagine as I moved away from the document the process changed quite a bit. When I first started I would drive around until I found something that interested me. As I started to get to know the space a bit more I would scout out different places and take notes as to when I wanted to photograph it. I would have all these lists of places to shoot in overcast, places to shoot when the sun was setting or rising and so on. Towards the end of the 10 years my process became more akin to that as a writer where I would be at home thinking about different ideas and sketching out pictures with a pen and paper. I would then try and make create or stage photographs from these different sketches’." (uma entrevista, aqui)

George Tice (New Topographics)

Petit Mobil Station, George Tice (1974)

Henry Wessel (New Topographics)

encontrei um canto onde me esconder. não é o que eu vejo mas é o que eu podia ter visto. alienado. umas Mitologias vinte anos mais tarde. um século de terra queimada. não deixaram quase nada de pé, iconoclastas ou criadores de mitos. nunca soubemos.

Albuquerque, New Mexico, 1972

Buena Vista, Colorado, 1973

Hollywood, California, 1972

Oklahoma, California, 1975

Tucson, Arizona, 1976

Walapai, Arizona, 1971

Venice, California, 1973

"You know, your mind is always back there saying: Move a little to the left. Move a little to... You wanna beat that. You cannot be thinking. You're just, yes, feeling. Yes, boom, here, there, whatever. Once you recognize something, then you're actually less aware. You name it, right? Once you name something -you name a telephone pole, you're less aware. But if you are not naming anything, then you're aware. More animal-like. So the mind's always in there saying "Ah, look at that.", you know. Telephone pole. Right? Macadam. This, move right, move left. So you wind up, in most cases, making maybe five pictures, six pictures of- the same stuff. The first ones, you could see how different they are than the ones when your mind got in there. When your mind gets in there, they start to look like photographs that you already know. They look like problems that you've already solved. They're never taking you to a place that's unfamiliar. They're taking you to what you're supposed to do. Then they look like everybody else's photographs. It's like when people say: "Well, you know, I always wanna go up and - I see something, and then I wanna go up and ask someone if I can photograph." You can't photograph it. It's gone! What you saw was gone. Now you're gonna photograph something else. And that's ok. People make good work that way. But it wasn't what interested them." (Henry Wessel)

tudo daqui.

"signs without signification", Jeff Brouws (New Topographics)

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Jeff Brouws, o site aqui. e outro link.

"The list [inspiring photographers] is endless; there are and have been a lot of great image-makers out there. Lewis Baltz, Robert Adams, Richard Misrach, Lee Friedlander, Paul Graham, Todd Hido, William Eggleston, Stephen Shore, William Christenberry and Richard Steinheimer to name a few. I like a lot of the Europeans, too, like the Bechers. Ed Ruscha (while not technically considered a photographer) has also been a significant influence. I think it fair to say his early books of photographs (Some Real Estate Opportunities and Twentysix Gasoline Stations) might have been the impetus behind the whole New Topographics movement.
And why have they inspired me? For myriad reasons: their work had a subtle political tinge, some of it was visually very tough and not traditionally considered beautiful, they all seemed extremely dedicated to their work, some dealt with aesthetic issues in very interesting ways, or I liked the subject matter they photographed and felt a kinship to that. Some embraced the mundane and declared art could be made from it.", a entrevista toda aqui, no Elogio da Sombra.

("the mundane is to be cherished", Jenny Holzer)

the new wide open spaces, Robert Adams (New Topographics)

Colorado 1970-74



wide open spaces, por dentro e por fora.
o deserto onde chega Lee, personagem de "True West". somehow, o verdadeiro deserto, o do Nevada, é-lhe menos hostil. estas imagens p/b dos anos setenta foram uma surpresa para mim, distraída a tempo inteiro. "Well, you'll probably wind up on the same desert sooner or later". "I can't stay here. This is worse than being homeless." um pouco anos setenta. mas...

Frank Gohlke's grain elevators (New Topographics)

gosto mais das p/b dos anos setenta, os grain elevators, silos de cereais do Midwest. depois disso entrou a cor e hoje Gohlke descreve-se no site como "leading figure in American landscaping photography". preferi Lewis Baltz.


Abandoned grain elevator, Homewood, Kansas, 1973

Grain elevators, Midway Area, Minneapolis, Minnesota, 1972

Grain elevators - Minneapolis - Series I, #26, 1973

Grain elevators, Minneapolis, 1974

Grain Elevator and Lightning Flash, Lamesa, Texas, 1975


muitas vezes vemos com os olhos dos outros, mais do que muitas vezes.

"Flash forward to the 1970s and Gohlke was part of a groundbreaking exhibition of landscape photography called New Topographics: Photographs of a Man-altered Landscape. The exhibition was seen in only three venues and apparently had an extremely thin catalogue, but the show made a major impact on how landscape photography was made and understood from that point forward. The show was the anithesis of both traditional black-and-white landscape photography as well as the dramatic photographs favored by the Sierra Club, which turn up the volume on the natural world. Referring to the sometimes unexpected and even mundane landscapes that appear in his work, Gohlke explained, "Part of the reason they're interesting to me is that nobody paid attention to them. I'd rather not go around with my eyes closed. I want to look at it all." (daqui)

depois da natureza de Adams dar a vez à natureza modificada. Andreas Gurski continua aqui monumentalmente.

amor à primeira vista (New Topographics)

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Lewis Baltz, anos 70. daqui.