Visvim Product X

Riffelberg - Folk

Premium brushed Italian cowhide upper.
Natural cork footbed.
Hand-sewn upper.
Linerless.
Extremely breathable.
Extremely absorbent of moisture.
Natural cork gootbed.
Vibram outsole for easy replacement.
TPU heel stabilizer.

San Francisco Dirtbag Crew

Huf

Photography and Art

The earliest controversies about the relationship between photography and art centered on whether photography's fidelity to appearances and dependence on a machine allowed it to be a fine art as distinct from merely a practical art. Throughout the nineteenth century, the defense of photography was identical with the struggle to establish it as a fine art. Against the charge that photography was a soulless, mechanical copying of reality, photographers asserted that it was instead a privileged way of seeing, a revolt against commonplace vision, and no less worthy an art than painting. Ironically, now that photography is securely established as a fine art, many photographers find it pretentious or irrelevant to label it as such. Serious photographers variously claim to be finding, recoding, impartially observing, witnessing events, exploring themselves - anything but making works of art. In the nineteenth century, photography's association with the real world placed it in an ambivalent relation to art; late in the twentieth century, an ambivalent relation exists because of the Modernist heritage in art. That important photographers are no longer willing to debate whether photography is or is not a fine art, except to proclaim that their own work is not involved with art, shows the extent to which they simply take for granted the concept of art imposed by the triumph of Modernism: the better the art, the more subversive it is of the traditional aims of art. Photographers' disclaimers of any interest in making art tell us more about the harried status of the contemporary notion of art than about whether photography is or is not art. For example, those photographers who suppose that, by taking pictures, they are getting away from the pretensions of art as exemplified by painting remind us of those Abstract Expressionist painters who imagined they were getting away from the intellectual austerity of classical Modernist painting by concentrating in the physical act of painting. Much of photography's prestige today derives from the convergence of its aims with those of recent art, particularly with the dismissal of abstract art implicit in the phenomenon of Pop painting during the 1960's. Appreciating photographs is a relief to sensibilities tired of the mental exertions demanded by abstract art. Classical Modernist painting - that is, abstract art as developed in different ways by Picasso, Kandinsky, and Matisse - presupposes highly developed skills of looking and a familiarity with other paintings and the history of art. Photography, like Pop painting, reassures viewers that art is not hard; photography seems to be more about its subjects than about art. Photography, however, has developed all the anxieties and self-consciousness of a classic Modernist art. Many professionals privately have begun to worry that the promotion of photography as an activity subversive of the traditional pretensions of art has gone so far that the public will forget that photography is a distinctive and exalted activity - in short, and art.

Supreme X Philippe Petit

Philippe Petit For Supreme

Supreme

Supreme F/W 10 Look II

Bomber Jacket

Oxford Work Flannel

Rigid Slim Black Jean

Supreme F/W 10 Look I

Quilted Waxed Cotton Jacket

Striped Sweater

良心

도대체 언제쯤 정신을 차린다는 것인지. 도대체 뭘 얼마나 했다는 것인지. 도대체 무슨 정신 머리로 책을 본다는 것인지. 공부한다는 놈이. 初心은 있기나 한 것인지. 알고는 있는지. 도대체 겉멋 들어 제 앞가림도 못하는 놈들과 뭐가 다르다는 것인지. 스물셋이나 먹었다는 놈이. 良心은 있기나 한 것인지. 알고는 있는지.

Bape In Korea

10 Corso Como Seoul

Visvim Product IX

French

If you were to drive 2 hours outside Paris to the Val de Loire (Valley of the Loire) in North-Central France, you would find a small family-owned factory of shiry makers dedicated to superb quality and incredible finishing. Constructed ith grace and careful attention by craftsmen (and, of course, craftswomen-though not necessarily in that order) utilizing the finest machinery available today, this factory specializes in details. The small details. Details that you wouldn't think to look for, but once you notice you can't live without.

關心

공부를 하다가도 가끔 몰래 쳐다보곤 한다. 공부를 하는 것처럼. 시계를 보다가도 가끔 몰래 쳐다보곤 한다. 시계를 보는 것처럼. 핸드폰을 만지다가도 가끔 몰래 쳐다보곤 한다. 핸드폰을 만지는 것처럼. 멍하다가도 가끔 몰래 쳐다보곤 한다. 멍한 것처럼. 가방을 싸다가도 가끔 몰래 쳐다보곤 한다. 가방을 싸는 것처럼. 그냥 지나가다가도 가끔 몰래 쳐다보곤 한다. 그냥 지나가는 것처럼. 우연히 눈을 마주치다가도 가끔 몰래 쳐다보곤 한다. 우연히 눈을 마주친 것처럼. 내 눈은 향해있지 않지만 머리나 마음은 향해있다. 향해있지 않은 것처럼. 關心 없는 것처럼.

蒼井優 II

蒼井優

蒼井優 I

蒼井優

Bark II

2010년 7월 30일 행신동
iPhone 3GS
Bark II
Bark.
*무단전재 및 재배포금지

창

버스를 타면 창가쪽에 앉는 편이다. 보통 멍하니 투명한 창 밖을 쳐다보고 있다. 가끔 그 투명한 창은 버스 안의 승객을 비추기도 한다. 그것은 밤에 오히려 더욱 선명하다. 투명한 창을 통해 버스 안을 본다는 것, 밝은 낮보다 어두운 밤에 사물이 더욱 선명하다는 것, 이것들은 아이러니라고 할 수 있겠으나 한편으로는 과학 지식의 부족이라고도 할 수 있겠다. 하지만 의문의 여지가 없는 한가지는 사물을 보는 눈은 나에게 있다는 것이다.

John H. White

I'm faithful to my purpose, my mission, my assignment, my work, my dreams. I stay focused on what I'm doing and what's important. And I keep in flight. I spread my wings and do it.

Pulitzer Prize Works

Two Men With A Problem, Paul Vathis 1962.
Torture In Daka, Horst Faas & Michel Laurent 1972.
Brutality In Bangkok, Neal Ulevich 1977.
Anti-Guerreilla Operations In Rhodesia, J.Ross Baughman 1978.
The American Cowboy, Erwin Hagler 1980.
Liberia - Executioners Celebrate, Larry C. Price 1981.
Memorial Day & Starving Child, Anthony Suau 1984.
Ethiopian Famine, Stan Grossfeld 1985.
Philadelphia's Homelss, Tom Gralish 1986.
Waiting Game For Sudanese Child, Kevin Carter 1994.
After The Fire, Matt Rainey 2001.
A People In Despair, Patrick 2009.