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Zendaya by Petra Collins for Wonderland

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Richard Mosse 

In a darkened room of Chelsea’s Jack Shainman gallery last month, I watched Richard Mosse’s new short film “The Enclave,” as the disembodied eye of a Steadicam roved a mountain landscape—pink, impossibly pink—with inhuman sweeps. On a mountain slope the color of cotton candy, the camera edged down a gravel road and approached a strange black form in the distance. A truck came hurtling around the corner, close to the mass, and continued out of frame. Slowly, I could see that the form was a corpse splayed in the middle of the road, and the camera swung coldly around it in a circle like a vulture before cutting out.

Before this, I’d seen only a number of large landscape photographs by Mosse. In each, the lush grass and rolling mountains of the Democratic Republic of Congo appear, as the artist describes them, “bubblegum pink,” shifting an otherwise straightforward terrain into something Seussically psychedelic. I was surprised to learn these images aren’t Photoshopped. They’re taken with an infrared Kodak film originally developed in conjunction with the U.S. military for government surveillance in World War II. The green chlorophyll from healthy plants reflects the infrared and appears hot pink; man-made camouflage absorbs the color and appears black. Thus, the camera ferrets the enemy in hiding.

Given the location (east Congo) and technique (military surveillance), Mosse’s landscapes suggest not whimsy, but criticism, “an attempt to challenge documentary photography, and engage with the unseen, hidden and intangible aspects of eastern Congo’s situation—a tragically overlooked conflict in which 5.4 million people have died of war related causes since 1998.”  Link

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Jill Freedman’s Street Cops

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by Mike Brodie

From the series A Period of Juvenile Prosperity

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quand est-ce qu’on part ?

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Un Chien Andalou. Simone Mareuil ♥

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The Dreamers (2003)

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Fun Photo Friday

Artist Tracey Emin

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New York in the 80s, photographed by Steven Siegel

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