peculiarvernacular

a.k.a. "High Art for Poor Farts". My other car is a Ferrari

“Often as I stare out the window at the little tiny moving things below I want to reach out and grab them, even though I know I can’t.  In a way my painting is a visceral response to my hunter instinct, these savage urges I feel - the call of the wild.  My work speaks of memory, of longing, of revisiting the traces of my ancestral past, and how life in a domesticated state hasn’t tempered or destroyed these traces.  As the paint dries there is no purring or rejoicing, nor rolling about on my back licking my tummy.  Ultimately my paintings are a lament against modernity - a call for a return to tradition, to a time when catching birds and rats was a survival necessity and not just trophies to show off to our human slaves.”
- Henri De Twoclaws-Retrac.

“Often as I stare out the window at the little tiny moving things below I want to reach out and grab them, even though I know I can’t.  In a way my painting is a visceral response to my hunter instinct, these savage urges I feel - the call of the wild.  My work speaks of memory, of longing, of revisiting the traces of my ancestral past, and how life in a domesticated state hasn’t tempered or destroyed these traces.  As the paint dries there is no purring or rejoicing, nor rolling about on my back licking my tummy.  Ultimately my paintings are a lament against modernity - a call for a return to tradition, to a time when catching birds and rats was a survival necessity and not just trophies to show off to our human slaves.”

- Henri De Twoclaws-Retrac.

(Source: icpbardmfa)



Romka #7 2012

Go Itami - Japan

“I crowned my princess’s Kayoko’s head with the things available to us while cleaning out my old apartment in Tokyo. We have since gotten married, moved in together, and this summer, our daughter was born. To me, this is a family photo. I have been photographing her for about ten years already and will continue to do so.”

Romka Magazine

finally, a name to the face.  

 





art21:

“Beauty, which I admit to being in pursuit of, is an extremely suspect word among many in the art world. But I don’t think you can get along without it. It’s the confirmation of meaning in life.”
Robert Adams.

WATCH: Robert Adams in Ecology [available in the U.S. only] | Additional videos









Bertien Van Manen

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Easter and Oak Trees

“Lightness dominates these black and white images, and the obvious pleasure, family warmth and security of her children and family in the less politically correct ‘70s. Children pose, play and run but ultimately the photographs communicate the intimate comfort that comes with family, uninhibited in their expression and exposure to the camera. Easter and Oak Trees offers an enticing invitation to share a small part of this familial idyll.

The images raise the question, could a photographer still do this in 2013? Could she photograph her children naked, footloose and carefree, acting up to the camera with fake cigarettes and a bottle of beer? Or is this spontaneity, this innocence, lost thanks to rancid affairs and small-minded moralism?” 

- Hripsimé Visser for MACK

more pictures on Another Mag



Juergen Teller

The Keys To The House.  Come visit sometime.





I love to go a - wandering…

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Daniel Augschoell

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Luigi Ghirri

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ce1

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Carleton Watkins

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David Benjamin Sherry

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Christian Flatscher

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Marcel Musil

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Nich Hance McElroy

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Jamie Kripke

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Josef Hoflehner

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Axel Hutte 

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Me

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Magnificent Ruin



danielaugschoell:

Nicholas Nixon, Las hermanas Brown, 1975-2010 (Spanish Edition), Colleciones Fundación Mapfre

Ahorn Magazine is one of my essential online reads, so it seems almost criminal that I’ve only just discovered Daniel Augschoell’s tumblr.  I think his tumblr posts more or less mirror Ahorn’s articles and features, sort of like an ‘out-takes”?
His post on Nicholas Nixon’s “The Brown Sisters” comes across as especially poignant to me.  Photographing anything for 35 years takes dedication, and the results speak for themselves.  A subtle yet forceful portrait of four sisters that makes time and its imperceptible flow its main narrative, along with of course, subtle changes brought on by age or fashions.
In the end though the pull of these photographs for me lies in the fact that there are myriad things to ‘read’ from the pictures - their likely character traits, the physical similarities and differences between them, their changing hairstyles, or even which one of them was perhaps most popular in school.  For example, right now I’m trying to guess which one of the sisters is the photographer’s wife.  Any ideas?

danielaugschoell:

Nicholas Nixon, Las hermanas Brown, 1975-2010 (Spanish Edition), Colleciones Fundación Mapfre

Ahorn Magazine is one of my essential online reads, so it seems almost criminal that I’ve only just discovered Daniel Augschoell’s tumblr.  I think his tumblr posts more or less mirror Ahorn’s articles and features, sort of like an ‘out-takes”?

His post on Nicholas Nixon’s “The Brown Sisters” comes across as especially poignant to me.  Photographing anything for 35 years takes dedication, and the results speak for themselves.  A subtle yet forceful portrait of four sisters that makes time and its imperceptible flow its main narrative, along with of course, subtle changes brought on by age or fashions.

In the end though the pull of these photographs for me lies in the fact that there are myriad things to ‘read’ from the pictures - their likely character traits, the physical similarities and differences between them, their changing hairstyles, or even which one of them was perhaps most popular in school.  For example, right now I’m trying to guess which one of the sisters is the photographer’s wife.  Any ideas?



mpdrolet:

Rain, c. 1960
Dmitry Baltermants




Pulp Fiction

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A behind the scenes still from Pulp Fiction and a photograph by Nan Goldin.