FPJ article examining the UN's deliberations on the idea of partition of Palestine in 1947 which were seized upon as a justification for Israel to illegally seize land and declare itself a state, an act immediately supported by the US.
As the unjust 'settlement' imposed on Germany after WWI laid the seeds for WWII, similar treatment of Palestine made inevitable the ongoing conflict between the West and the Arab world.
Long ago President Obama promised much to the Arab world and at the time some even believed he could deliver, but it turned out to be business as usual. Today was his parting gift; not veto-ing a UN resolution critical of Israel's settlements on Palestinian land. He's about to leave office and the Democrats no longer hold any of the levers of power so the impact will be minimal beyond the short term. If there was ever a time to do the right thing for once while incurring the inevitable fury of the Israel lobby it was now. In reality it's many years too late and means nothing, but even so it is one of those very rare moments in politics it's hard to be totally cynical about.
I nearly fell out of bed last night while listening to the Modern Art Notes podcast. Interviewee in the second part of the show was artist/feminist/activist Martha Rosler (b.1943) and, while making herself lunch during the phone interview by the sounds of it, she casually mentioned Lewis Baltz, in the context of them both photographing landscape as land-use. I know he was a fairly marginal figure for most people into photography, so as a loooOooooong time fan it's a super-special moment for me when he gets a mention out there in the world.
There was a ton of wildlife around today. Usually I see a few small birds hopping around under the hedges for safety but as I walked along pheasants would repeatedly burst forth and flee into the sky with a frantic whirring sound. But what gave me more of a fright each time were big, rabbits that leaped from cover but only when I was practically putting my foot beside them. They were very brave waiting till I was so close and were perfectly invisible (at least to me anyway). They were big creatures and I don't know who was more shocked at our meeting them or me (it was probably me, actually).
I knew they weren't rabbits but hares when I got back to the road and set off and saw one, fresh roadkill by the verge. In the moment I passed the detail that caught my attention was the rim of blood, bright and new, around the white of its eye.
Seeing the Ralph Meatyard video earlier I was motivated enough to get off my wuss ass and go do some more hedge photography, even though I had decided enough was enough with that series. It's not as if anyone apart from Noam Chomsky has given the pictures the time of day - (but if anyone was to, I'm more than happy that it was him... he was probably only being polite, though). The rest of the world was proving perfectly capable of carrying on without the need for hedge photographs. Well mine, anyway.
There's a hill to the south of town that has to be ascended to get out to the airbase a few miles beyond where these particular hedges reside. Last year I could cycle half way up that hill but this year, probably due to unpublicised earth movements, it has now become almost vertical and so I stop at the bottom, strap my bike to my back and scale a cliff face. I suppose it makes sense building an airfield up there beyond, as it would be nearer the sky. As it is the Reaper dron…
Check out this Modern Art Notes podcast on The Lexington Camera Club. (It's the second interview in the show so you might want to skip the first 40 minutes or so). It explains how it came about that in a small town in 50's America a group of amateurs became committed art photographers - including local optician Ralph Meatyard.
"Made from 1950s papers designed for military use, this Alison Rossiter
4-piece composition is among the largest she has ever made. Its simple
geometric shapes in white, grey, and black feel almost sculptural, the
subtle evidence of her dipping process seen in the rippled undulations
of the middle tones." - Loring Knoblauch
I was never excited by the paintings of Paul Nash
but found this evening's BBC 4 programme by Andrew Graham-Dixon was
engaging and many of the works were suddenly impressive. I'm intrigued
now by Nash's preoccupation with very specific local landscapes which
engaged him for years, how he found significance in the moon and equinoxes - and I can relate to his becoming a war
After somehow getting away without any hassle from officialdom last Autumn I didn't think I'd go back to site C again, particularly after getting no interest in the pictures from various open submissions. But, it was that time of year again, when those leaves would be changing colour so amazingly. How could I not go?
On the cycle trip out I was pondering excuses to turn back, particularly because the hedgerows en route were mostly still green and I wanted another batch of images with flaming yellow and burning gold leaves (that, to me at least, referenced explosive shell-bursts). The ones taken on the first day of November last year (after a violent storm had stipped most of the branches) were more effective I thought due to those hot colours. The weather has been mild recently so presumably that's why the hedgerows are holding back longer this year.
Site C involves taking pictures in very close proximity to
what's actually there at site C, and not including that thin…
It's hard not to think of Jackson Pollock (or Picasso's Guernica) when making wide pictures. Using high res sweep-mode panoramics today I was considering the welter of lines in Pollock's paintings, and later reflected on Picasso's response to the bombing raid in 1937.