STILLS

Friday, October 21, 2011

ROBERT HEINECKEN

Wednesday, October 19, 2011

ALEX CLAUSEN

LUCAS SIMõES

BRENT LEWIN

from Street Elephants

GEORGE STEINMETZ

from African Portfolio

Sunday, October 9, 2011

CLARENCE JOHN LAUGHLIN

Passage to Never Land, 1958

ANDREW MOORE

Casino Rooftop, Asbury Park, from Works in Progress, 2004

Monday, August 8, 2011

DAVID SEIDNER

JAN DIBBLETS

PIERRE LE HORS

Wednesday, July 13, 2011

CY TWOMBLY

Friday, July 8, 2011

JAN SAUDEK

JOEL-PETER WITKINS

Mother of the Future, 2004

Most definitions of "art" are both pretentious and unacceptable. Why should mine be any better? This is the best I've been able to come up with: set up an arbitrary series of rules and follow them slavishly.

Errol Morris, 2010

We walk around like there's some holy moments and there are all the other moments - that are not holy, but this moment is holy. And film can let us see that. We can frame it so that we see, like, "Ah, this moment. Holy." Like "holy, holy, holy" moment by moment. But who can live that way? Who can go, "Wow, holy"? Because if I were to look at you and let you be holy -- I don't know. I would, like, stop talking.

Waking Life, 2001

We have to remember that what we observe is not nature herself, but nature exposed to our methods of questioning

Werner Heisenberg, Physics and Philosophy, 1958