itwonlast

Where does the strength and the fascination of the wall come from? It will play an active, creative role with all who incise on its copperplate engraving-like material. Their eyes popping our of their heads with justifiable curiosity, in hallucinating gazes, will nor be only the eyes of childhood. They will be the eyes of the wall as well, the gaze of the wall, just as all these faces will be the face of the wall, and all the hearts, the hearts of the wall. Here the medium shapes the art and is equally predetermined. The wall gives graffiti this unity of style, this air of familiarity, as if they were all drawn by the same hand, and this worn out, weathered, corroded look, as if they had emerged from another era.
— Brassaï, The Language of the Wall 1933-1956

Where does the strength and the fascination of the wall come from? It will play an active, creative role with all who incise on its copperplate engraving-like material. Their eyes popping our of their heads with justifiable curiosity, in hallucinating gazes, will nor be only the eyes of childhood. They will be the eyes of the wall as well, the gaze of the wall, just as all these faces will be the face of the wall, and all the hearts, the hearts of the wall. Here the medium shapes the art and is equally predetermined. The wall gives graffiti this unity of style, this air of familiarity, as if they were all drawn by the same hand, and this worn out, weathered, corroded look, as if they had emerged from another era.

Brassaï, The Language of the Wall 1933-1956

Mais nell`aiaGiacomo Giannini1989-1992 (‘Isle of View’ series)

Mais nell`aia
Giacomo Giannini
1989-1992 (‘Isle of View’ series)

Roy and Johnnie, Wartrace, TNSheron Rupp1990

Roy and Johnnie, Wartrace, TN
Sheron Rupp
1990

Andrei Tarkovsky: A Photographic Chronicle of The Making of The Sacrifice takes an intimate look at the making of Tarkovsky’s final masterpiece shot during the summer of 1985 on the Swedish island of Gotland. Author Layla Alexander-Garrett who worked as Tarkovsky’s interpreter took over two hundred photographs whilst on set recording the process of making the film as well as Tarkovsky’s life in Sweden. Each of the photos are accompanied by scene-setting English text (side by side with Russian text) and are often fascinating - Tarkovsky having an entire field plucked of yellow flowers before shooting, actor Erland Josephson snoozing between takes or Tarkovsky and cameraman Sven Nykvist waiting to play a game of tennis.

Gerhard Richter, Köln, 1986, Timm Rautert

Gerhard Richter, Köln, 1986, Timm Rautert

Polizei, 2002, Heinz Peter Knes

Polizei, 2002, Heinz Peter Knes

Boy and the Sea Shōmei Tōmatsu1969

Boy and the Sea
Shōmei Tōmatsu
1969