Martin Kollar. “European Parliament.”

❣ Chile in a Photography ❣
almost home
"I'm Dorothy Gale from Kansas"
tumblr dot com
hello vonnie


blake kathryn

Game Changer & Make Some Noise

ellievsbear
YOU ARE THE REASON
The Stonewall Inn
Cosmic Funnies

Discoholic 🪩
todays bird
One Nice Bug Per Day

gracie abrams
Today's Document
Fai_Ryy

seen from Colombia
seen from South Africa
seen from Germany
seen from Pakistan
seen from Germany

seen from United States
seen from Paraguay
seen from Russia

seen from Germany

seen from United States
seen from Netherlands
seen from Vietnam
seen from United States
seen from Netherlands

seen from Germany

seen from United Kingdom

seen from Germany
seen from Thailand

seen from Colombia

seen from Türkiye
@digitalmedbibliographyweiler
Martin Kollar. “European Parliament.”

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Martin Kollar
Stephen Shore. From “Warhol” series.
Stephen Shore. “Avenue of the Americas.” (details)
Stephen Shore. “Broad Street, Regina, Saskatchewan, August 17, 1974.”

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Stephen Shore. “South of Klamath Falls, U.S. 97, Oregon, July 21, 1973.”
“Surviving Total Surveillance” - Artist Panel hosted by the Whitney Museum of Art. 2016.
{link to: Fiona MacDonald}
{link to: Cameraperson}
Interview with Kirsten Johnson, the creator of the film Cameraperson, which I saw at Amherst Cinema on April 14th. The movie speaks to issues of authenticity, subjectivity, (post?)colonial-era human responsibility, alongside more formal questions regarding cinematography, editing, and the limitations of time-based media. (trailer not available online)
{link to: Burroughs article}
{link to: Crary article}
Response to “Rag Picking: Why has abjection gained renewed currency in art?” (Frieze, 2016. Kirsty Bell.)
Responses to Readings

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
@veteranas_and_rucas is an Instagram account created by artist Guadalupe Rosales that documents the Southern California Chicano party crew scene in the 1990s, largely through photographs and videos submitted by followers. The fact that this community was so tight-knit has made the Instagram project a growing archive of family histories and a site that for the activation of memory and culture. In fact, many users have renewed ties with family and friends in the comments surrounding each post. It is significant that an archive of this community's rich cultural life was not created by any formal memory institution. By highlighting this lack, Veteranas and Rucas raises broader questions about how memory is created and valued, and how the internet might help reshape these processes. As an ongoing socially engaged artwork, Veteranas and Rucas pushes us to preserve cultural history and question narratives around value and historical documents, exemplifying the important role that archives can serve in forging community.
Jen Davis, photos from “Torch Songs and Love Scenes”
Ruth van Beek, from “Untitled (The Arrangement).”

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Top Image: Daniel Gordon from “The Alphabet, The Suburban”
Bottom: from “The Green Line”
Nazareth understands that the whole gig of art-- and he is always introducing his conceptual decrees by declaring: 'Here is art'-- requires that these performances be framed: here, the documentation says, is the part that is art, here are the boundaries of a work, and now it can be appreciated as such. But the real conceit is that the frame is always in motion. His "Cadernos de Africa" (Africa Notebooks, 2013-ongoing)-- records of his walks along old slave routes from Johannesburg to Lyon-- are always presented as inconclusive, as what he's cobbled together thus far, as if his gallery put an exhibition date on the calendar and, at the last minute, he offhandedly sent them what he happened to have. The whole situation is deliberately depressurized.
Gideon Lewis-Kraus, Frieze magazine, no. 170 (April 2015)