Jasper Johns - NYC 1955. Photo by Robert Rauschenberg.
Siobhán Bohnacker explores why Samuel Beckett was “an especially appealing subject” for photographers: http://nyr.kr/1hw0ybl
“Steve Schapiro shadowed Beckett during the production of the playwright’s movie ‘Film,’ in 1964. Shapiro told me, ‘Beckett seemed introspective and engrossed in his own world. Most of the time, I doubted that he was even aware I was there, and I am sure cared less.’”
Beckett on the set of his movie “Film,” 1964. Photograph by Steve Schapiro
Japanese poem Waka by Ono-no-komachi (calligraphy by Mteisi) :
it changes color in this world
the flower of the human heart.
"Sufficient time is rarely taken to study light. It is as important as the lines the actors speak, or the direction given to them. It is an integral part of the story and that is why such close coordination is needed between director and cinematographer. Light is a treasure chest: once properly understood, it can bring another dimension to the medium… As I worked with Ingmar, I learned how to express in light the words in the script, and make it reflect the nuances of the drama. Light became a passion which has dominated my life."
December 3, 1922 — September 20, 2006
Anselm Kiefer. Der Morgenthau Plan (The Morgenthau Plan), 2012. Emulsion and acrylic on photograph on canvas, 110 x 224 inches (279.4 x 569 cm). Albright-Knox
“Seeing is a neglected enterprise.”
Saul Leiter (1923-2013)
"I wrote down silences, nights, I noted the inexpressible. I fixed vertigos.”
-Arthur Rimbaud cited in Delmore Schwartz’s Rimbaud in Our Time
(quote via gravellyrun
William Scott (British, 1913-1989), Still life with pan, 1956.
Mixed media on paper, 24.5 x 31 cm.