April 27, 2009
April 26, 2009
Borf is not caught. Borf is many. Borf is none. Borf is waiting for you in your car. Borf is in your pockets. Borf is running through your veins. Borf is naive. Borf is good for your liver. Borf is controlling your thoughts. Borf is everywhere. Borf is the war on boredom. Borf annihilates. Borf hates school. Borf is a four letter word for joy. Borf is quickly losing patience. Borf yells in the library. Borf eats pieces of shit like you for breakfast. Borf is digging a hole to China. Borf is bad at graffiti. Borf is ephemeral. Borf is invincible. Borf. Borf ruins everything. Borf runs near the swimming pool. Borf keeps it real. Borf writes you love letters. Ol’ Dirty Bastard is Borf. Borf knows everything. Borf is in the water. Borf doesn’t sleep. Borf systematically attacks the infrastructure of the totality. Borf is a foulmouth. Borf eats your homework. Borf brings you home for dinner. Borf is the dirt under your fingernails. Borf is the song that never ends. Borf gets down. Borf gets up. Borf is your baby. Borf is neither. Borf is good for your heart, the more you eat the more you. Borf is. Borf knows. Borf destroys. Borf is immortal. Borf pulls fire alarms. Borf scuffs the gym floor. Borf is looking through your mom’s purse. Borf is M. Borf is the size of Alaska. Borf likes pizza. Borf is in general. Borf is X. Borf ain’t nothin’ to fuck with. Borf runs it. Borf has reflexes like a cat. Borf is immortal. Borf sticks gum under the desk. Borf is omnipotent. Borf is flawed. Borf is winning.
April 23, 2009
Justin Schmitz’s photographs investigate various facets of youth culture in the Midwest. In his most recent series, Mosh, he focuses on teenagers who join in mosh pits at hardcore punk concerts, in which audience members dance by pushing or slamming into each other. Schmitz states, “My subjects use the mosh pit as a platform to release the hostility and aggression they identify with in the music. These images are the aesthetic interpretation of my subject’s violent expression.” A selection of the photographs in the series freeze one or two dancers mid-motion, using a bright flash to frame them against a backdrop of darkness. By isolating individual figures from the crowd Schmitz accentuates the extreme physicality of their gestures and the force of their expressions. He also undermines the perception of the mosh pit as a violent group muddle, replacing it with a vision of a cathartic personal space. Schmitz accompanies the action shots with formal portraits of the concertgoers, who pose for him away from the mosh pit. Photographing them at an intimate distance from a frontal perspective and using the same blacked-out background, Schmitz draws our attention to the clothes they wear and how they carry themselves, and to the similarities and differences between them. The portraits also act as an invitation to look the young hardcore music fans in the eye. The hostility and aggression that Schmitz speaks of seems largely absent in the individual faces, underlining how these feelings are let loose, and perhaps reside, in the mosh pit. (--www.mocp.org/collections/mpp/schmitz_justin.php)
Boy do i feel redundant.