Found Functions
“Nevertheless, the fact is that there is nothing as dreamy and poetic, nothing as radical, subversive, and psychedelic, as mathematics. It is every bit as mind blowing as cosmology or physics… and allows more freedom of expression than poetry, art, or music… Mathematics is the purest of the arts, as well as the most misunderstood.” - Paul Lockhart
Now 75% funded to get Stay Young Issue Two printed! If there are anymore pre-orders to come through they would be GREATLY appreciated. I’m literally waiting till I get paid to work out if I will have enough to pay my rent/council tax and then be able to get this sent to print. Itching to have it in my hands!!
Thank you again, so much, to everyone that has already invested their money and patience into the second issue, I’m really looking forward to it’s arrival.
Pre-orders can be made via the Editions Ltd.website, just a quick and simple paypal button.
Photo courtesy of Zara Pfeifer
MY AFRICA IS SKYPE SESSIONS W/ DELPHINE FAWUNDU-BUFORD: At My Africa Is we want to change the way the world sees the African continent. Our skype sessions feature individuals who can help give insights on various topics. In this episode, we speak with Delphine Fawundu-Buford, a photographer who has been documenting the music scene in West Africa, and most recently teaching a self portrait workshop to female photographers in Lagos.
I am profusely drawn to reflections, like moths to light. I love the elusive and surrealistic nature of layered images on glass… much like the elusiveness of memory and dreams. Neil Acid
Nyani Quarmyne and Nii Obodai, Ghanaian photographers, have set out to document climate change, photograph West Africa and beyond, undo stereotypes and upend expectations, with a subtle eye and nuanced view.
Dan Eldon was born in London in 1970 to an American mother and a British father. Along with his younger sister, Amy, Dan and his family moved to Kenya in east Africa in 1977. Kenya remained Dan’s home for the rest of his life, and though he traveled often – visiting more than 40 countries in 22 years – he always considered Africa home.
“E.J. Bellocq was a commercial photographer who worked in New Orleans before and after the First World War. A plausible guess might be that his working life reached from about 1895 through the first four decades of this century. The thirty-four pictures reproduced here are selected from a group of eighty-nine plates - portraits of Storyville prostitutes - which were discovered in Bellocq’s desk after his death. These negatives were made about 1912. As far as it is known, they constitute the only fragment of his work to have survived.” - John Szarkowski
“E.J. Bellocq was a commercial photographer who worked in New Orleans before and after the First World War. A plausible guess might be that his working life reached from about 1895 through the first four decades of this century. The thirty-four pictures reproduced here are selected from a group of eighty-nine plates - portraits of Storyville prostitutes - which were discovered in Bellocq’s desk after his death. These negatives were made about 1912. As far as it is known, they constitute the only fragment of his work to have survived.” - John Szarkowski
Carrot Cake byJoel-Peter Witkin
“Wiktin’s work was first exhibited in 1980 and has since then exerted a great appeal because of its absolute originality and often disturbing overall effect. Witkin shows us a personal universe at the far end of nightmares, a world of silent suffering, which, in his own words, is a prayers directed at God. This work is profoundly religious, and the seemingly monstrous bodies it harbors, the collected human afflictions and deformities, the stray appendages, and grotesque attitudes are meant be understood as a dark but fervent hymn to the beauty of all individuals created by God, even those most unworthy of depiction” - Régis Durand
“Ballen began by taking traditional photographic documents in the poor rural areas of South Africa. But gradually he began to work less as a documentarian and more as a stage director by encouraging a collaboration with his subjects in creating a persona, tableau or still life. Montaigne would approve, having written: ‘fabulous incidents are as good as true ones, so long as they are feasible.’ Ballen’s entry into a more theatrical mode gained clarity fifteen years later in his 2001 book Outland. Four years after that in Shadow Chamber, he re-enforced his commitment to his new direction of exploring his own thoughts rather than dutifully recording the facts of the subject. Initially, it was in those remote places in the outlying dorps, or villages, of the bush country where he had gone to scout and survey professionally for what might be beneath the surface of the earth that he discovered this other vein. In those tiny villages, lives disconnected from the wider society and within the sparse materiality of their houses, Ballen saw a different territory and beyond that yet another world beneath its deteriorating surfaces.” —David Travis
“Ballen began by taking traditional photographic documents in the poor rural areas of South Africa. But gradually he began to work less as a documentarian and more as a stage director by encouraging a collaboration with his subjects in creating a persona, tableau or still life. Montaigne would approve, having written: ‘fabulous incidents are as good as true ones, so long as they are feasible.’ Ballen’s entry into a more theatrical mode gained clarity fifteen years later in his 2001 book Outland. Four years after that in Shadow Chamber, he re-enforced his commitment to his new direction of exploring his own thoughts rather than dutifully recording the facts of the subject. Initially, it was in those remote places in the outlying dorps, or villages, of the bush country where he had gone to scout and survey professionally for what might be beneath the surface of the earth that he discovered this other vein. In those tiny villages, lives disconnected from the wider society and within the sparse materiality of their houses, Ballen saw a different territory and beyond that yet another world beneath its deteriorating surfaces.” —David Travis
