PDF Rôtis (Les indispensables t. 14) (French Edition)

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Here is a city we went to, these are odd people whom we met, this is Mommy coughing uncontrollably and Daddy ready to vomit. This hand-drawn diary contains more information about personal and professional relationships, relative personalities, attachments to objects, struggles in life and their ability to lighten a rotten situation with humor than a written diary could. Doodles, daydreams, depictions of everyday circumstances, and collaboratively drawn pieces with their kids tell the reader about their interconnected emotions and imaginings in way that thousands of words may fall short.

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Remember when BSA took you to Paris that time and we skipped the line and went into all the floors of this soon to be demolished building? You may wish you had more background on the artists and the context and clearly not all of the artistry is of similar quality but you will be satiated by the images and thankful that they were recorded during their brief duration. Published by Editions Albin Michel, in partnership with the Itinerrance Gallery, this show will continue to soar long after the dust has settled.

Dog Section Press. London, Please follow and like us:. Read more. Carpet Bombing Culture. Great Britain The memory of the joy and the excitement of discovery of graffiti and Street Art is something we never take for granted, and we have always given voice to as many artists and photographers as possible on BSA for that reason.

Great Britain Brooklyn Street Art: What initially drew you to the practice of capturing and documenting graffiti and street art? Luna Park: was a watershed year for me: having ended a failing relationship, I found myself in a personal and creative rut. Being in a transitional phase, I think I was perhaps more open to new inspirations. I was living in Greenpoint at the time, so I frequently cut through what was then still an active warehouse district on my way to the L train. It was there that I first stumbled across a piece by Swoon, a chance encounter that would propel me down a new path in life.

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Once I became attuned to the proliferance of work on the streets, I started playing a game in which I purposefully varied my commute so as to never walk down the same street twice. I bought the first of many digital cameras and began honing my craft. At the time, it was not unusual to regularly find new works by the likes of Faile, Dennis McNett, and Dan Witz to name but a few. There was so much weird and wonderful stuff to be discovered — like that tentacled UFO thing with the googly eyes hanging off the sides of buildings — the mystery of it all struck a nerve and piqued my interest.

This being the early days of social media, documenting required a great deal more legwork than today — but being a determined and inquisitive person, I was up to the challenge. I really had no idea how deep I would delve into this culture and how profoundly it would influence my life.

Something about the experience of walking the city and finding art on its streets filled me with so much happiness, I quickly became obsessed. What are some of the components or qualities of a piece that draw you to shoot? Luna Park: Being drawn into conversations with random strangers is one of the greatest pleasures about shooting on the street. If work is funny, clever, or political, that certainly draws my attention.

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I prefer originals to multiples, but only because the latter are often implemented so heavy-handedly that they come across as advertising. I like a good puzzle, so work that defies easy classification really pushes my buttons. Thoughtful placement, with an eye for the surrounding environment, is another key factor.

And of course crazy placement — of the ballsy, bordering on death-defying, how did they pull that off variety — always impresses. It will take an encyclopedia to do that complex and nuanced subject matter justice. Great Britain Brooklyn Street Art: There is a larger discussion about legal versus illegal work today that calls into question the permissioned mural and myriad festivals that are producing elaborate compositions.

Do changes like this in the scene affect your own photography?

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What was once largely a DIY community affair has ballooned into a three-ring festival circus of wall brokers, gallerists, curators, agents, developers, sponsors, public relations officers, vertical media networks and high follower Instagram account holders with a sideshow of handlers and enablers all up in the mix. Each new wall brings with it a scrum of photographers loitering below lifts, eagerly competing to upload to social media before the paint has even dried and obsessing about having enough likes.

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For me, street photography is a joyful and natural extension of the very personal and largely solitary experience of taking in art. The public spectacle surrounding muralism has sucked the life out of something that should be more pure, relegating us all to hamsters in a giant content-creation wheel. Of course I still photograph murals, only I do it strictly on my time. Great Britain Brooklyn Street Art: Flickr as a photography platform sort of started you off with sharing your images and building community. How did it change your experience of shooting graffiti and street art and what part of it still resonates for you?

For many of us, it was not only the first, really game-changing social network, but one specifically catering to visual artists. It was where I got my first education in street art and graffiti: starting off with no idea how to identify artists, the hivemind of Flickr always pointed me in the right direction.

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