Black Panther: The Revolutionary Art of Emory Douglas traces the graphic art made by Emory Douglas while he worked as minister of culture for the Black Panther Party from 1967 until its discontinuation in the early 1980s. Douglas’s powerful visuals helped define the trademark visual style of the group’s newspapers, posters, and pamphlets. Douglas’s substantial body of work exists as a powerful graphic record of the Black Panthers’ legacy, reflecting their development and evolving mission to improve the lives of African Americans by calling for resistance and change, as well providing social services to their communities. With a firm understanding of the need to disseminate information and communicate the party’s agenda visually, Douglas’s bold illustrations and striking images spoke forcefully to a community ravaged by poverty, police brutality, and poor living conditions. With unmistakable humanism, Douglas portrayed a populace that was emerging from segregation and proudly fighting to assert their rights to equality.
Really love the bit posted on Cyana about the Emory Douglas exhibit at the New Museum in New York. Seeing his work now, it’s fairly evident the inspiration his style and sense of commentary in many of the prominent street artists today.
Rogers took the images on the anniversary of the deaths, at the exact moment they occurred, and in the precise position the car was before impact. Whereas some of the final photographs are rendered atmospheric by darkness, many reveal the rather banal landscape witnessed by the subjects in the final seconds before their deaths.
The series includes the deathplaces of artists and writers including Jackson Pollock, Albert Camus and Helmut Newton, and musicians such as Marc Bolan and Eddie Cochrane. It also features perhaps the world’s most famous car crash victim, Princess Diana.
Some of these shots really give the viewer a sense of the final glimpse these cultural figureheads had at the specific moment of death. I’m curious to see if the light for the photographs correspond to the time of impact.
[via CR]
Found out about Oliver Stahlmans via BT and really enjoyed this young photographer’s work. There’s this wonderfully unsettling feeling that sort lingers throughout these images.
Ken Murphy is capturing a year’s worth of timelapse sequences from atop San Francisco’s exploratorium – seen above is the first 42 days of his project -
“The earliest day is in the upper left, and consecutive days follow left to right, then down, with the most recent day in the lower right. It starts a little before sunrise, so it’s dark for the first few seconds:
Keep in mind that all of the days are synchronized, so at any given moment, you’re looking at the sky at the exact same time of day for each of the panels. The cascading effect at sunrise and sunset is caused by the variations in day length.”
Brilliant wall-animation done by Sam3 during his exhibition in San Jose, CA. Love the music in conjunction with the watercolor-esque imagery, reminds me of something that should’ve come out of the 60s.
The word electricity is thought to derive from the ancient Greek elektron, meaning “amber.” When subject to friction, materials such as amber and fur produce an effect that we now know as static electricity. Related phenomena were studied in the eighteenth century, most notably by Benjamin Franklin. To test his theory that lightning is electricity, in 1752 Franklin flew a kite in a thunderstorm. He conducted the experiment at great danger to himself; in fact, other researchers were electrocuted while conducting similar experiments. He not only proved his hypothesis, but also that electricity has positive and negative charges. In 1831, Michael Faraday’s formulation of the law of electromagnetic induction led to the invention of electric generators and transformers, which dramatically changed the quality of human life. Far less well-known is that Faraday’s colleague,William Fox Talbot, was the father of calotype photography. Fox Talbot’s momentous discovery of the photosensitive propertiesof silver alloys led to the development of positive-negative photographic imaging.
The idea of observing the effects of electrical discharges on photographic dry plates reflects my desire to re-create the major discoveries of these scientific pioneers in the darkroom and verify them with my own eyes.
Science + tech collide in Hiroshi Sugimoto’s Lightning Fields series as he uses a 400,000-volt Van De Graaff generator to directly apply electrical charge onto film.
My photographs serve as modern dioramas of our new natural history. Within these scenes I explore our paradoxical relationship with the “wild” and how our conflicting impulses continue to evolve and alter the behavior of both humans and animals. We at once seek connection with the mystery and freedom of the natural world, yet we continually strive to tame the wild around us and compulsively control the wild within our own nature. Within my work I examine the primal issues of comfort and fear, dependence and determination, submission and dominance that play out in the physical and psychological encounters between man and the natural world. Increasingly, these encounters take place within the artificial ecotones we have constructed that act as both passage and barrier between domestic space and the wild.
The photographs in this series are constructed based on real stories from local newspapers and oral histories of intentional and random interactions between humans and animals. The narratives are set in and around Matamoras, a small town in Northeast Pennsylvania that borders a state forest.
Fantastic images from Amy Stein melding narrative interludes where animals and (primarily in this series) suburban existence meet. These photos make me think about the split-second hush that falls upon citizens here in L.A. whenever we spot a coyote.
