by jad

Collage Party: Prepping the Raised Fist for Folklife

“Are you from here or just visiting?” “I’m from here, but I’m rarely in Queen Anne.” “Well, now you know where we are.” x Seattle @demsocialists hosted a collage party yesterday as part of the final prep work for an installation on the history of the raised fist that will be shown at @nwfolklife. This project is based on research by labor historian and @seattledsa member Daniel Ammons. The main pieces are designed and fabricated by Parker Wrenn, while the installation as a whole will also feature contributions by @christine.bingham.art’s middle school students, as well as a set of very … Continue reading “Collage Party: Prepping the Raised Fist for Folklife” →

by jad

Nomad Studies at the Georgetown Art Attack

Do not double park. Do not block bike lane. x Christine showed her work in progress and some finished pieces at today’s pop-up Nomad Studies showcase at @siderailcollective, as part of @georgetownartattack. It was a very quick turnaround, but so worth it to be part of this warm community. x Marginal way. x

by jad

Antigravity (On the Cost of Film Photography)

It’s been harder to justify the cost of film photography lately, but the siren’s call is almost just as hard to ignore, so I decided to stretch a roll out across a couple of weeks, like an “everyday carry.” This is counterintuitive, because the cost usually makes me more precious about the shots, needing them to “mean something.” These don’t mean anything. We took the new light rail to Mercer Island and found some earthworks, walked around, then took the light rail back. x I didn’t think about it at the time, but these fit well with an advertising project … Continue reading “Antigravity (On the Cost of Film Photography)” →

by jad

What Makes a Photo “Necessary”?

Whenever I’m anywhere with lots of people with cameras, I become painfully aware of my own camera and how low-key gross they actually are. It’s that twinge that Barthes writes about when he recognizes himself as becoming-object, but it’s worse, because, for me, it’s from both sides of the lens. I am the biggest hypocrite. I run from the gallows and happily take my place at the foot of the guillotine; I’m mixing metaphors somewhat, but I’m making another reference here: the photographer as executioner, as exegeted by Fontcuberta—the trail of dead leading back to France when the histories of … Continue reading “What Makes a Photo “Necessary”?” →

by jad

Finding a Political Home on May Day

Mr. Melee told me that he’s perma-banned from Instagram, so he probably won’t see this, but I’m sure you’ve seen him before, if you’ve been to any rally, march, or protest in past year or so. This was from May Day. I’ll be posting a few photos. Me and the other 10,000 people with cameras who were out here today. x Comrade Nate was a little suspicious of my intentions at first, but I think I won him over with the sheer power of my airtight logic: if you show up looking this cool, you’re gonna get pestered for a … Continue reading “Finding a Political Home on May Day” →

by jad

Barthes and the History of Looking

“The portrait-photograph is a closed field of forces. Four image-repertoires intersect here, oppose and distort each other. In front of the lens, I am at the same time: the one I think I am, the one I want others to think I am, the one the photographer thinks I am, and the one he [sic] makes use of to exhibit his art. In other words, a strange action: I do not stop imitating myself, and because of this, each time I am (or let myself be) photographed, I invariably suffer from a sensation of inauthenticity, sometimes of imposture (comparable to … Continue reading “Barthes and the History of Looking” →