loose threads from

by Matt Lutton and M. Scott Brauer


Schools for the Colored by Wendel White 

     ”These photographs depict the buildings and landscapes that were associated with the system of racially segregated schools established at the southern boundaries of the northern United States. This area, sometimes referred to as “Up-South,” encompasses the northern “free” states that bordered the slave states. Schools for the Colored is the representation the duality of racial distinction within American culture.

The “veil” (the digital imaging technique of obscuring the landscape surrounding the schools) is a representation of DuBois’ concept, informing the visual narrative in these photographs. Some of the images depict sites where the original structure is no longer present. As a placeholder, I have inserted silhouettes of the original building or what I imagine of the appearance of the original building. The architecture and geography of America’s educational Apartied, in the form of a system of “colored schools,” within the landscape of southern New Jersey, Pennsylvania, Ohio, Indiana, and Illinois is the central concern of this project.”

(via photographsonthebrain)

1956- Gordon Parks documented the everyday lives of an extended black family living in rural Alabama under Jim Crow segregation for Life magazine’s photo-essay “The Restraints: Open and Hidden.” (via)

(Source: vintagegal, via fotojournalismus)


Yusuf Sevincli est un photographe turc. Il a fait une série appelée Home qu’il n’a pas retenu sur son site officiel. Et pourtant. Il était retourné dans sa ville natale (ce qu’explique le texte ci dessous pris à NPR), au nord de la Turquie, sur les côtes de la Mer Noire où il avait également passé toute son enfance. Il explique que cette expérience lui a fait se poser des questions car tout lui semblait étranger. Il s’est demandé si c’étaient les lieux qui avaient changé ou lui-même.

"The photographs in my series Home were taken in the town of Zonguldak, a small city in northern Turkey on the coast of the Black Sea, where I was born and spent more than half my life. I started photographing when I returned many years later for a weekend visit; I found myself confronted with questions about my past and belonging. The places where I spent my childhood had become complete strangers to me, and I set out to recapture the fragments of past events that marked my memories of home. Was it really me who existed in these places so long ago? Has Zonguldak changed, or had I ?"

Ben Vautier

(Terrain Vague, 1961, 1970 / Partie Du Tout A Ben, 1960 / Le Temps, 1961 / To Change Art Destroy Ego, 1965, 1968 / Centre Du Monde, 1962 / Jeter Dieu a la Mer, 1962 / Voiture, ca. 1964-65 / Voiture, ca. 1964-65 / Le Vitres De Magazins, 1979 )

From Strip Tease Intégral de Ben (Rétrospective Ben [Vautier]), Somogy editions d’art/ MAC Lyon, Paris/Lyon, 2010 (french language)

(Source: stoppingoffplace.blogspot.ca, via gregruffing)