Lynn Davis, modern views of ancient treasures
Lynn Davis is considered one of the most refined photographers on the American scene. All her photos are centred on the epiphany of places sacred to humanity: monumental tombs in the middle of the desert, temples rising up like stalagmites from the plains, and hieratic figures emerging from the mountains. These are the images that the photographer prefers today in her constant search for a place “outside time”, one that can transmit to humanity - today as much as yesterday - a sense of the absolute.
(via booksnbuildings)
FUTAGAWA Yukio（二川 幸夫 Japanese, 1932-2013）
Rural Houses of Japan 日本の民家 1955
Acclaimed Japanese architectural photographer and founder of Global Architecture (GA) magazine Yukio Futagawa died on March 5, 2013, at the age of 80.
Futagawa spent his 60-year career as a photographer, editor, and publisher, depicting and interpreting the architecture and culture of Japan, as well as the architecture of leading designers from other countries. He worked with many renowned architects and historians, including Christian Norberg-Schultz, Philip Johnson, and Kenneth Frampton. via
Negatives from the razing of the Federal Building, 1965, by Vivian Maier. Photo via ChicagoGeek/Flickr.
Lindemann battery in the Strait of Dover, photographed by Paul Virilio
Olaf Otto Becker - Under The Nordic Light | Concrete Spillway Chute, Kárahnjúkar (2010)
(Source: artchipel, via architectureofdoom)
OMEGA SUITES (1991-1998), THE ARCHITECTURE OF CAPITAL PUNISHMENT, BY LUCINDA DEVLIN via Socks Studio
Lucinda Devlin started in 1991 a series of photographs of gas chambers, injection rooms, electric chairs, and death row cells in the rural United States’ penitentiaries, entitled “The Omega Suites“, after the last letter of the Greek alphabet as an allusion to the finality of execution.
The purpose of this photographs is not to bring an ethical view upon the issue of death penalty in the States, but to focus on the environment where the process of capital punishment takes place.
“My personal view of the role of capital punishment in our society is not an issue in these photographs” states Devlin. “Rather, I have attempted to let the environments themselves communicate directly with viewers.”
The architectures of isolation, the sanitized chambers of life privation, are captured with Hasselblad cameras through long exposures, resulting in clinically sterile images.
(via praxismakesperfect)
Dezeen: The ghost town depicted in these images by photographer Tim Van de Velde is a replica that Belgian artist Gert Robijns built to recreate part of the village he grew up in
Laurie Anderson.
Anderson photographed men who called to her or whistled her on the street. In her artist statement she writes about one experience,“As I walked along Houston Street with my fully automated Nikon. I felt armed, ready. I passed a man who muttered ‘Wanna fuck?’ This was standard technique: the female passes and the male strikes at the last possible moment forcing the woman to backtrack if she should dare to object. I wheeled around, furious. ‘Did you say that?’ He looked around surprised, then defiant ‘Yeah, so what the fuck if I did?’ I raised my Nikon, took aim began to focus. His eyes darted back and forth, an undercover cop? CLICK.”
Anderson takes the power from her male pursuers, allowing them nothing more than the momentary fear that their depravity has just been captured in a picture.
