crushed bumper 

crushed bumper 

A ~ O ~ N 

A ~ O ~ N 

erotic (?) lenticular prints 

erotic (?) lenticular prints 

empty storefront upper east side /fancy /closed

empty storefront upper east side /fancy /closed

*T-Pain voice*  I’m in love with a kitten  *T-Pain voice* 

*T-Pain voice*  I’m in love with a kitten  *T-Pain voice* 

scans from a really faded copy of Avant Garde #13 Portraits of the American People: A Monumental Portfolio of Photographs, Spring 1971, all images by Alwyn Scott Turner

SF or LA chinatown???  love this dude 


scans from a really faded copy of Avant Garde #13 Portraits of the American People: A Monumental Portfolio of Photographs, Spring 1971, all images by Alwyn Scott Turner

SF or LA chinatown???  love this dude 

scans from a really faded copy of Avant Garde #13 Portraits of the American People: A Monumental Portfolio of Photographs, Spring 1971, all images by Alwyn Scott Turner
**that mirror** 


scans from a really faded copy of Avant Garde #13 Portraits of the American People: A Monumental Portfolio of Photographs, Spring 1971, all images by Alwyn Scott Turner

**that mirror** 

two scans from a really faded copy of Avant Garde #13 Portraits of the American People: A Monumental Portfolio of Photographs, Spring 1971, all images by Alwyn Scott Turner

two scans from a really faded copy of Avant Garde #13 Portraits of the American People: A Monumental Portfolio of Photographs, Spring 1971, all images by Alwyn Scott Turner

John      I’ve always thought about the houses as a reference to a certain kind of absence. In later work I’ve dealt much more directly with the idea of the presence of absence, but initially it had to do with the absence of the people that once lived in those houses. Initially, I was thinking about melancholia in relation to an absent subject, but then I became attuned to something in the medium that was inherently melancholic. Absence is built into the process, the photograph as this dead industrial thing. Being simply silver on paper, or dye on paper, in itself represents the absence of whatever is represented; it is an index of loss, a lost present that cannot be retrieved. And then there is another level of absence – my own. I’ve acted upon those spaces, so my own absence from the photograph is necessarily implicated.

from an interview between john divola and jan tumlir here

used and unused buttons on the microwave (have I even once used 7?) 

used and unused buttons on the microwave (have I even once used 7?)