Wow. I've never jinxed something so pointedly before. I'm sorry, Little Tree.

Progress.

This one is worse, but it's more interesting...or is it? And it's exactly like the photo from the fall that I liked?

All these pictures were once horizontal 6x7s, but Photoland's scanner cropped the heck out of them. My film looks like it was manhandled by someone with Vaseline hands. If only there were another place within 100 miles that developed medium format film... Anyway I like these pictures so far even though they're not there yet. Maybe I'll make a calendar someday.

"And when the builders laid the foundation of the temple of the Lord, the priests in their vestments came forward with trumpets, and the Levites, the sons of Asaph, with cymbals, to praise the Lord, according to the directions of David king of Israel. And they sang responsively, praising and giving thanks to the Lord,

'For he is good,
for his steadfast love endures forever toward Israel.'
  
And all the people shouted with a great shout when they praised the Lord, because the foundation of the house of the Lord was laid. But many of the priests and Levites and heads of fathers’ houses, old men who had seen the first house, wept with a loud voice when they saw the foundation of this house being laid, though many shouted aloud for joy, so that the people could not distinguish the sound of the joyful shout from the sound of the people’s weeping, for the people shouted with a great shout, and the sound was heard far away."

Ezra 3:10-13

Ryo Kawanishi's photos from this January, together.

Email attachments from home.

http://www.googleartproject.com/museums/tate

Art and the Sublime room of Tate Britain.

Thomas Struth, The Felsenfeld/Gold Families, Philadelphia

Thomas Struth, The Okutsu Family in Western Room, Yamaguchi
 

 

Thomas Struth, The Falletti Family, Florence

Thomas Struth, The Richter Family 1, Köln

"Well first of all, in terms of an artistic practice, I can clearly only comment on something that exists, or that I encounter by direct experience. I think that my switch to photography from painting, for example, came about because I realized that I was more interested in working on things that resided out in the world, and were not restricted to my own psychological field. I realized I was more of a social and political person, and that I was more fascinated by analytical processes. It also bears saying that every part of my work reflects the position of a human being who actively takes part in life, which maybe sounds very banal and general to say expressly, but that is nonetheless what I’m interested in.

"In the beginning I was also interested in the relationship of the individual to the larger historical time span into which he’s born, and the responsibilities of what might be called one’s heritage. So, for instance, my specific experience at that time entailed an analysis of urban structures in the postwar German landscape, or the result of all that came after the Holocaust at that time, or more specifically, of being a witness to the emblematic structure of postwar German cities.

"This led to a curiosity about other places and other patterns of historical heritage, and then more or less by intuition or accident, to looking at another type of structure, that of the family. Those pictures were a starting point for an analysis of the social group, of the way individuals learn about the group dynamic or group activity. Because this family unit is the elementary social structure, it sets part of the patterns for how you behave in life, where you learn your first steps as a social being. Essential to the function of those pictures though is an understanding that they are only emblematic, that in making family portraits I was seeking something like an emblematic platform for a play of thought about something common, that we all share. Even if you look at the narratives of families as different as from, let's say, Ghana, Finland, Mongolia, or Germany, the fact of a family dynamic built through a history of generations is a shared experience."

Text from Gil Blank's interview of Thomas Struth, via ASX.