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Garry Winogrand, Los Angeles, 1964
From the Getty Museum:
Most of Winogrand’s best pictures-let us say all of his best pictures-involve luck of a different order than that kind of minimal, survivor’s luck on which any human achievement depends.
-John Szarkowski in Winogrand: Figments from the Real World
Call it luck, call it circumstance, but when Garry Winogrand set out to photograph, his colleagues observed that surprising things would happen.
Winogrand noticed this odd couple in a parked convertible one night as he wandered Hollywood’s Sunset Strip. The man with the bandaged nose glances at his angry-looking female passenger. She seems to be ignoring him. The blurred motion of cars rushing past them underscores how fleeting this moment is.
Winogrand’s photograph captures Hollywood’s unique combination of glamour and seediness. It specifically calls to mind the dark narratives of film noir-the detective movies of the 1940s and ’50s that featured tough guys and femmes fatales. The narrative here is ambiguous, prompting questions as to why this man’s nose is bandaged and whether the couple is arguing.
(via bbook)
How do you reign in the character’s eccentricity ? Well, I had to be prepared to let people dislike her at times because she’s a bit of a bitch, but at the same time, she’s gorgeous and she’s funny and she’s silly and you sort of feel for her. You kind of sense her confusion about who she is and her life. She’s very, very vulnerable, I think, underneath all of that stuff. I just had to work very, very hard. Sometimes I would say to Michel, “Let me know if I’m not going enough. Let me know if I’m going too far.” And more often than not, he would be pushing me further. I was so terrified of being over the top and he would just say, “No, no, no. More, more, more.” And I’d be like, “Really ?” He’d go, “Yeah, it doesn’t matter. Just do it, just try it.” That was fantastically liberating. When you do classical period films, you don’t get the opportunity to do that. It’s a more subtle approach.
(Source: kawaicandy, via bbook)
Zynga, a publicly traded company, is trying to prove it spent hundreds of millions of dollars on more than just a blank piece of paper and a few digital crayons. Yesterday, the company’s advertising platform for Draw Something was unveiled for the first time—and, if not handled with some finesse, it’s a great potential example of forced brand interaction.
Advertisers now have the option to purchase drawing terms related to their brands. When a user opens Draw Something, the game gives three options to choose from—say, tennis, pancake, or snowball—which players then doodle for a friend, who in turn has to guess what that user has drawn. Soon, however, users will start to see brands among the fun options typically available—imagine trying to draw Hewlett-Packard or Toyota—which could quickly turn the game into a mobile version of Brand Tags. The NHL is one of the earliest advertisers on the platform, hoping to promote the Stanley Cup playoffs. But not all brands are as player-friendly as the hockey league.
on another ratchet level…. really jesus in a bandanna on a cross made of guns SMH… how is this keeping anything real?
Badvertising of the Day: Right-wing, anti-science think tank the Heartland Institute has unveiled a new billboard campaign in its hometown of Chicago that compares those who believe in global warming to the Unabomber, Charles Manson, and Osama bin Laden.
From the group’s website:
What these murderers and madmen have said differs very little from what spokespersons for the United Nations, journalists for the “mainstream” media, and liberal politicians say about global warming.
It continues:
The people who still believe in man-made global warming are mostly on the radical fringe of society. This is why the most prominent advocates of global warming aren’t scientists. They are murderers, tyrants, and madmen.
Really?!
Thankfully, spot-on analysis by The Daily Beast‘s Andrew Sullivan wins the day:
In some ways, this is an almost perfect illustration of what has happened to the “right.” A refusal to acknowledge scientific reality; and a brutalist style of public propaganda that focuses entirely on guilt by the most extreme association.