Reading “ON [____]SCAPES” and some new scenes from the Edge of Manhattan

“ON [____]SCAPES: Let me know you made it there okay. Send a postcard? Wish You Were Here.” – Daonne Huff, Studio Museum in Harlem

We need a break, a change of view, an escapadean escape—let’s get some air.
-scape: a view or picture of a scene—usually used in combination, a noun (Merriam-Webster). Add land, city, sky, space, quiet, sound, etc. etc. etc. as is applicable for you and your viewpoint.

Daonne Huff

 …Indigenous ancestralscapes…

Daonne Huff

For someone who has tended to feel like an air plant much of their life, these drives were an attempt to feel the connections, to incite the spirits to take me in as kin.

Daonne Huff

…can I be refreshed, restored, replenished for a moment before going back into the heat, into the work, into the day-to-day struggle and toil? 

Daonne Huff

Hughie Lee-Smith’s paintings explore the tensions created in an atmosphere of physical and psychological alienation. Here, the tied ribbons and fading colors of the rooftop mural suggest that people were once present in this now-abandoned scene. Through compositional techniques—including shadowing, perspectival manipulation, and the use of symbols such as the question marks at center—Lee-Smith creates a sense of isolation that speaks to the ambiguity felt by those on the margins of society.

Hughie Lee-Smith (Eustis, Florida), Festive Vista,1980, The Studio Museum in Harlem

Some new scenes from the Edge of Manhattan

We lived in joy, the joy of living without interference, without persecution, without unnatural threat. The joy of running. The joy of digging. The joy of hunting earthworms through the dirt. The joy of the wind against fur. The joy of muddy paws. The joy of sleeping next to mate and kits. The joy of climbing trees. The joy of swimming in streams. The joy of mating and raising children. The joy of digging burrows. The joy of playing in meadows. The joy of snapping at fireflies at dusk. The joy of napping on smooth stones, on moss, on beds of ferns. The joy of the warmth on fur.

Dead Astronauts, Jeff Vandernmeer

The twenty-five pictures are not portraits, for example, the genre that Bey has mined and enriched for the past forty years, but unpeopled landscapes.

Dawoud Bey’s Shadowy Landscapes Trace Paths of the Underground Railroad, Matthew S. Witkovsky, ARTnews

Lenape Words (Unami)

English: leaves (as on a plant)

Lenape: këmpàhko


English: The leaves are green.

Lenape: Nèl këmpahko àskàskweyo


English: trees

Lenape: hìtkuk


English: sky

Lenape: mushhàkw


English: summer

Lenape: nipën


English: We are now experiencing summer.

Lenape: Yukwe ta nipënëmihëna.


Additional Excerpts

His landscape photographs used a kind of pictorial conventionality. In series such as A.O.N.B. (Area of Outstanding Natural Beauty, an institutional acronym), 1982-5, and The Forest, 1986, Arnatt saw this as a consequence of an interest in typological and genre pre-occupations which were artefacts too (in the sense that subject-matters are emphatically, again, art historically marked by type). In the 1980s he would talk of his interest in art historian Norman Bryson’s adoption of the expression ‘rhopography’ (the overlooked; the insignificant). Later colour works deployed all of the artifice he associated with picture making, including (Notes from Jo, 1991-1995) apparent self-effacement or ridicule. A strategy that connects later works to early works.

Keith Arnatt Estate, About

Mini-post: May 21st, Bronx Zoo

Went to the Bronx Zoo with Tiya and Matt. I wanted to work on snapshot aesthetics again, but this times, using ideas from The Anonymous Project and Hiroshi Sugimoto’s ‘Diorama’ series.

Nicer Tuesdays: The Anonymous Project. It’s Nice That. (YouTube)

A History of Snapshot Photography – Take Your Pick at UMMA. UMMAMuseum. (YouTube)

WAJDA PHOTO – Vernacular Photography: Snapshots as Unintentional Art. Kenneth Wajda. (YouTube)

WAJDA PHOTO – The Magic of Snapshots AKA Vernacular Photographs. Kenneth Wajda. (YouTube)

Hiroshi Sugimoto: Four Decades of Photographing Dioramas. American Museum of Natural History. (YouTube)

Plethora of Pictures

Lenapehoking

Wigwam

The edge

Hybrid land

Convergent evolution

Environmental anthropology

“During the American revolution the term wigwam was used by British soldiers to describe a wide variety of makeshift structures.








Latest Consumptions

https://alecsoth.com/photography/projects/broken-manual

Snapshot Photography: The Lives of Images by Catherine Zuromskis

Echopraxia by Peter Watts

Freeze-Frame Revolution by Peter Watts

Me, Myself, and Land

Digging up more photos from my archives, changing them, and trying out new possibilities, or identities for them

Post-analog photography revival

What is the film look that escapes digital photography?

How to remember something you didn’t experience first-hand?

Reality is null, there is only…

Art-making doesn’t feel like an efficient way to live for my circumstances.

Recent Consumptions

Can’t Help Myself & Death of the Author (YouTube)

Masters of Photography, Ernst Haas

Lartigue: Life in Color

Deep South by Sally Mann

what i see by Brooklyn Beckham

Ancient and Modern by William Eggleston

Still Time by Sally Mann

Group Show, Magazine Contribution, and more

Group Exhibit: What’s Your Black?

WHAT’S YOUR BLACK, curated by Fable Jones is on exhibit February 5th – 19th. Featuring 16 artists and 24 artworks.

Post image: Sandy Clafford

RSVP Here

Heath Gallery’s Website

Color Tag Magazine Vol. IV

I was accepted to being a contributor for Color Tag Magazine’s 4th collaborative publication: Vol IV

Editor in Chief: Arianna Lucas

Limited Edition of 75

Get yourself a copy here: Shop

My contributed piece to Color Tag

The prompt for a Call for Art I’m interested in:

Please tell us about yourself and how your art practice relates to the the theme of, Memory + Healing + Sustainability? *

My response:

“My relationship with art is cybernetic and polyamorous. I work through computerized equipment with ‘smart’ technology and I feel supported in it. Like two hemispheres mingling righteously, the camera and softwares internally computes and suggests ideas to me. Sharing together our opinions on the art we want to make. My artistic progression is dependent on the speed, ease, and accuracy of contemporary technology.

My relationship with the camera brought me closer to nature as well. The work I’m submitting, I hope gives some insight to my hopes for the future of my body, or specifically my black body. A body that is tightly bound to work, inequality, and debt.

I think about how my body will survive in the future? Maybe in the future I could be like a child again? Maybe I will escape into the wilderness like some of our maroon ancestors?

My body is infused with the fragments of landscapes and nature that I collect in my photographic work. A harmonious integration, I hope. Through photography and digital image making I meld deeply with those memories and the fragmented experiences. The process is meant to be transformative, just as I’m trying to transform my own turmoil.

The whole thing is science fantasy to me.”

A new revamp of the previous image

More revamps to rediscovered photos in my archives

Recent Consumptions

Blindsight by Peter Watts

Blood Red Sky (film)

Masters of Photography, Saul Leiter

Jacob’s Ladder (1990 film)

Lovecraft Country (series)

The Beautiful Smile by Nan Goldin

Anthony by the Sea, photograph by Nan Goldin