Learning to See

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Macrology
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Re: Learning to See

Post by Macrology » Mon Jul 20, 2020 11:54 pm

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Alex Webb. Haiti. Etroits. La Gonave. 1986.

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Re: Learning to See

Post by Macrology » Tue Jul 21, 2020 9:39 pm

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Alex Webb. Haiti. Cite Soleil. 1986.

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Max Kozloff wrote:For over thirty years, Alex Webb has not only invoked the physical heat of sun-struck places: his photographs also endow them with a metaphysical heat, suggestive of energy under stress, a spring-loaded poise that might flash into action. The spectacle he creates is both delirious and deliberate.
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Re: Learning to See

Post by Macrology » Thu Jul 23, 2020 8:41 pm

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Alex Webb. Haiti. Bombardopolis. School prayers. 1986.

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Re: Learning to See

Post by Macrology » Sat Jul 25, 2020 9:53 pm

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Alex Webb. Grenada. Gouyave. Bar. 1979.

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"Colors are the deeds and suffering of light."
(Johann Wolfgang von Goethe - and the epigraph to Webb's comprehensive monograph, The Suffering of Light)

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Re: Learning to See

Post by Macrology » Mon Jul 27, 2020 12:43 am

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Alex Webb. Ethiopia. 1997.

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Alex Webb wrote:It's not just that that and that exists. It's that that, that, that, and that all exist in the same frame. I'm always looking for something more. You take in too much; perhaps it becomes total chaos. I'm always playing along that line: adding something more, yet keeping it short of chaos.
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Re: Learning to See

Post by Macrology » Mon Jul 27, 2020 9:41 pm

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Alex Webb. Cuba. Matanzas. 2008.

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Re: Learning to See

Post by Macrology » Tue Jul 28, 2020 9:39 pm

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Alex Webb. Cuba. Havana. Children playing in a playground. 2000.

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"Webb is drawn to borders [. . .] Webb's signature way of dividing up the picture is by some kind of pole or tree, or the edge of a wall [. . .] the triptychs where a single image is made up of three quite distinct elements or frames. Further multiplication is achieved [. . .] by a glimpsed mural or poster, by views through a doorway, windows, or mirror (or a car door or rear-view mirror). Sometimes a mirror is glimpsed through a door or a hole in the wall - or vice versa - so that we end up with the flattened, visual equivalent of a Russian doll. Within the frame there are multiple alternative frames: phone booths, windows (which double up as half-hearted mirrors), televisions and - of course! - photographs. You start to wonder: just how many pictures are there in a typical Webb picture? Which picture holds the record for most pictures?"
(From Geoff Dyer's afterword to Webb's monograph The Suffering of Light)

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Re: Learning to See

Post by Macrology » Wed Jul 29, 2020 11:00 pm

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Alex Webb. Cuba. Havana. Barrio Chino. 2007.

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[Click image for full size]

"Elsewhere, too, figures in the photographs' shadow-choreography are insubstantial, spectral. It's not that we can see through them, exactly, but they are not absolute barriers to what is going on behind them, are not entirely separate from the background (insofar as it makes sense to use that word in connection with a photographer who consistently does away with the distinction between foreground and background). Either the building they are passing has taken on some of their color, or they have absorbed some of the building's color. It is as if parts of the walls have detached themselves and become briefly perambulatory."
(From Geoff Dyer's afterword to Webb's monograph The Suffering of Light)

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Re: Learning to See

Post by Macrology » Fri Jul 31, 2020 2:55 am

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Alex Webb. Bombay. India. 1981.

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"There's a lovely moment in the essay at the close of Violet Isle, where Pico Iyer calls Webb 'a shadow sociologist.' He is indeed a sociologist - and catcher - of shadows, sharing D. H. Lawrence's belief that in hot, sunny places life lurks in the shadows. [. . .] Digitally remove the shadows from the work of Cartier-Bresson and the pictures would remain almost entirely intact. Take them away from Webb and great hunks would be chomped out of the pictures. Actually, that, in a sense, is exactly what the shadows are in Webb's work: areas of such intense darkness that they seem almost to have been snipped out of the picture frame [. . .] These shadows act like a chorus of 'unseen witnesses,' looking in on the actors and action in the light, but the distinction between actors and shadows, participants and witnesses, is fluid, shifting."
(From Geoff Dyer's afterword to Webb's monograph The Suffering of Light)

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Re: Learning to See

Post by Macrology » Fri Jul 31, 2020 9:39 pm

Image

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Rebecca Norris Webb. Cuba. Havana. Pigeon wing. On this rooftop pigeon coop in Old Havana, a breeder is spreading open the wing of a pigeon he bred to have blue and green feathers. 2008.

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Though her style is more simple, serene, and contemplative, she and her husband Alex Webb are frequent collaborators.

An interview with the Webbs, including more examples of her work.

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Re: Learning to See

Post by Popcorn Reviews » Mon Aug 03, 2020 4:03 pm

Image

Out of curiosity, would you be able to identify this illustration? I'm asking for a friend.
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Re: Learning to See

Post by Macrology » Mon Aug 03, 2020 7:58 pm

Nope. Nothing I recognize. I'd say it looks more like a still from something, rather than a standalone image (though that may just be the way it's cropped). The super-impositions and editing look digitally manipulated rather than chemically manipulated, so I'd guess the image was made within the past 30 years. Also gives off a vaguely central/eastern European vibe, though there's too little to go by to say that with any confidence.
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Re: Learning to See

Post by Popcorn Reviews » Mon Aug 03, 2020 8:14 pm

Darn. That's alright though. Thanks anyways. Let me know if you're able to come up with anything later.
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Re: Learning to See

Post by Macrology » Mon Aug 03, 2020 11:55 pm

Image

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Ron Haviv. Panama City. 1989.

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My Best Shot

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Re: Learning to See

Post by Macrology » Thu Aug 06, 2020 12:29 am

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Bruce Conner. Sound of Two Hand Angel. 1974.

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Sculptor, filmmaker, painter, photographer, collagist, draftsman, and conceptual prankster, probably best known for his avant-garde found footage short films, including the seminal A Movie.

A fairly comprehensive site dedicated to his various endeavors.

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Ma`crol´o`gy
n. 1. Long and tedious talk without much substance; superfluity of words.
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