“Coming to you live from PS22, here’s yet another amazing accomplishment from a first rehearsal. Yes, I am VERY proud to say that the kids learned this song in one sitting, and it is one of my favorite things I’ve ever heard on them. I really planned on working on the bounty of new material we’ve bitten off, but during rehearsal I could tell the kids were fiending for still another new song. So I looked over my iPod and came up with this song by Bjork called “Joga” off the album Homogenic.
“This is one of my 3 or 4 favorite Bjork songs and man oh man, the kids on this!! Just brilliant. I can’t believe how polished this sounds after learning it only today. I’m so happy about this one.”
“A personal photography experience for public consumption.”
Suzanne Heintz calls herself “the modern day patron saint of single women”. She has the following to say about her ongoing photography project, the wondrously uncanny “Life Once Removed”:
What would drive you to pack a family of mannequins into your station wagon, and take them on a road trip? Enough pressure to conform will send anyone packing. That’s how I came to this personal project about what is essentially…Spinsterhood, and the American Way.
Well-meaning strangers, along with friends and family, would raise an eyebrow when the topic of my unmarried and childless status arose. Indicating with a small facial twitch, not only my audacious freakishness, but that I was a little old for such foolish thinking. I mean, come on, eggs don’t last forever!
But really, what was I supposed to do? You can’t just go out and buy a family. Or can you? I did. They are mannequins. The candy coated shell with nothing inside. We do all those family things, all the while capturing those Kodak Moments. Because it’s not really about the journey, or a genuine human connection, when your kids are screaming, “are we there yet?”, is it? It’s about the picture in front of the sign. “Get back in the car, we got the picture. Now, let’s go eat.”
We love and obey the formatted image of a well-lived life. So deeply ingrained is that strange auto-grin we put on when a camera is present. Do we live our lives with a keen awareness of how it feels, or just how it looks? If I pass through life without checking off the boxes for a wedding ring and a baby carriage, I will be missing the photo album, but not not the point. When I take my photos, others stop and stare, then they ask, “why are you doing this?” They, at that moment, are starting to get the point too.
Check out more of Suzanne’s fantastical images HERE.
Marketa Luskačová – “Girls upside down, Blenheim Crescent, London, 1984”, from the series ‘Children in Britain’
Born in Prague. Degree in sociology of culture at Charles University, Prague 1967, thesis on traditional religion in Slovakia accompanied with photographs of pilgrims. 1967 – 1969 studied photography at FAMU, Prague. Since 1968, freelance photographer. Check out more of her work HERE.
I found this North Korean children’s ensemble performance disturbing yet also fascinating… Maybe it’s due to my Western bias towards self-determination, but the regimented – no, automated – nature of this; the youngness of the children; their forced smiles, really upset me to watch. Everything is rote, down to the last tilt of the head. It also makes me wonder how much “childhood” they have – how heavy this weighs on their tiny shoulders… Or do they even feel it as oppressive at all? Maybe if you grow up where play (of the spontaneous sort) is not on the cultural menu, you never yearn for it, never feel alienation or exploitation?