Hmong Female Militia (1960s)
FORCED REBELLION at KNOWN Gallery in Los Angeles
KC Ortiz
In the jungles of Laos with the rebel Hmong.
Children Shout, Skeletons on Stilts タイガバイト写真
Downtown Saint Paul, Minnesota 2010
Skyway タイガバイト写真
ミネアポリース ミネソタ
古い建物 タイガバイト写真
Saint Paul, Minnesota 2010
summer’s gone タイガバイト写真
かまくら２０１０
Sun Foods Market タイガバイト写真
Thank the lord Sun Foods Market exists only five minutes away. Hmong, Liberians, Mexicans, Lao, Cambodian, Somali people can find necessary items for cooking from here. If Sun Foods weren’t around, I would have to drive across town to Saint Paul. Not something I am interested in doing with all the ice in the streets!
Sometimes, diptychs. タイガバイト写真
かまくら、日本2010
Sometimes I take diptychs アイガバイト写真
Realize I am not much of a diptych photographer, something about it makes me lazy, like digital photography.
Suburban Winter タイガバイト写真
ミネソタ2010
It’s still snowing. タイガバイト写真
It’s also really flat in the mid-west.
ミネソタ2010
ターゲトセンター タイガバイト写真
ミネアポリース メネソタ2010
Went over to the Walker on a whim today to see Alec Soth’s America.
In the surreal clip that ends the essay, Blaze the Stripper listens politely as Ed reads her T.S. Eliot’s “The Love Song of J. Alfred Prufrock.” Soth then overdubs Ed with Eliot himself reading the poem. The clip is haunting and overwhelmingly bizarre, teetering between exploitation, rapt fascination and an indictment of shallowness.
If “The Loneliest Man in Missouri” is one of Soth’s short stories, then it’s him at his literary best, as freaky and macabre as J.D. Salinger’s bananafish.
I was most struck by “The Loneliest Man in Missouri” project. The accompanying snippet of intimate handwritten anecdotes juxtaposed with the distant photographs brought you into the lonely story. In a way, those handwritten snippets were holding your hand guiding you safely through the outlandish world of those characters in the photographs. Then, at the end, that peculiar video. My friend was disturbed by that video, and pretty much disliked it. I on the other hand, personally found it riveting. I felt Soth touched on something intangible, a human essence hidden beneath the absurdity of the characters and scene. Not only that, it’s refreshing to see something from a photographer where you can tell he is engaged with his subjects. After being caught photographing, I liked the fact that he brushes that off, changes gears from shooting from a distance, and goes on ahead to find and talk to the loneliest man anyway. It felt as if somehow I had watched an entire film, just within that one project. I’m pretty much blown away by Soth.
ザー海 タイガバイト写真
サンフランシスコー近くかな。2010
Culvers タイガバイト写真
Local fast food. This is why America is fat.
ミネソタ2010
