I went live very early this morning with the update of my website: www.robinholland.com Bigger, definitely (thanks to liveBooks’s Scaler). Better, that certainly is my intention.
But wait, there’s more–additional galleries and many new images in existing galleries, including new old pictures (in the archive gallery), some of my all-time favorites. The site is built using flash, so while viewing on a mobile device is possible, for the full effect, a desktop or laptop is better. (Next project: snazzy mobile site.)
The work required to make the site was seemingly endless (ask any of my friends how long I’ve been talking about this): editing (hard); re-sizing the photos for Scaler (tedious); removing black borders on Hasselblad/Instagram pix (dullsville); putting the images in each portfolio into an order that’s meant to flow, with pairs that work together (very subjective, the hardest part).
Taking off the black borders, cropping away the tiniest bit of the image (info) made me feel uncharacteristically nostalgic–I was also removing the smallest part of the time, the experience of these shoots, my history. Look at Joseph Beuys sitting on his piece, “7000 Oaks” and the trees, top right–I wonder what those trees in Kassel are like today, bigger? Still there? Chopped down? (Beuys died in 1986.)
As Jerry Saltz wrote in his piece “Art at Arm’s Length: A History of the Selfie” in New York Magazine: “Susan Sontag and Roland Barthes saw melancholy and signs of death in every photograph.”
And the website work made me long for all of these people and places and have a bit of contempt for where I did it (maybe I need to take pictures of my desk, my Eizo and cinema display screens, my terabyte drive, my Imacon scanner so I can romanticize my office).
The concerted push I made to finish the site this week had a soundtrack. I now know every word from “Inside Llewyn Davis” and “I’m Not There,” and several Anthony and the Johnsons albums (I like to sing along). I also listened to a fascinating interview that editor/founder of Bureau of Arts and Culture magazine, Joshua Triliegi did with legendary Los Angeles photography dealer David Fahey.
Some of you reading this are on my new site–thank you for letting me use your portraits. And special thanks to Jennifer in Tivoli, NY (I assume she’s still there).
And More About Meeeee (as Colbert says)
I’m also an interviewee (with photos illustrating the piece) in the June issue of Bureau of Arts and Culture magazine–very exciting. Joshua Triliegi asked five questions (I combined them into four) that I was very interested in answering.
Here’s the beginning (if you want to read more and I totally recommend looking at all of the amazing pieces in the June issue of Bureau, click here, download the pdf and scroll down to page 62):
Robin Holland has been documenting Artists, Actors, Writers and Directors as well as media related individuals for decades and somehow been able to discover and capture her own take on these very interesting individuals. Here is The unedited BUREAU Interview.
BUREAU: Can you remember early on, the first time an image actually spoke to you in a personal way ?
Of course I grew up surrounded by images (but in comparison to today’s childhood, it was a visual void)–TV (Flintstones, Jetsons), movies (Disney, Hayley Mills), Look, Life (I remember a strange, very blue image of Nixon shopping for real estate, peering into a window of the guest house at San Clemente, and on the cover of that issue, a black and white group portrait of three men in sharp suits (whom years later, coming across the magazine in my parents’ basement, I was surprised to recognize as John Cassavetes, Peter Falk and Ben Gazarra). But the first visual images that I remember wowing me were the portraits of Simon and Garfunkel (on the cover of “Bookends”–but it would literally be a decade before I knew it was shot by Avedon and who he was), and the Beatles (+ everyone) for “Sgt. Pepper.” But studying/working with images, for me, first, it was words, reading: Nikos Kazantzakis, Ai (Florence Anthony), Richard Hugo, Wendell Berry, Elizabeth Bishop–I studied literature and creative writing in school; writing: my attempts at poetry in classes with Ai, Milton Kessler and John Vernon. Some of the most powerful images for me are still words–I just watched (staying up way too late) “True Detective” (great performances, gorgeously shot) and the Handsome Family’s song over the opening credits, “Far From Any Road” has a line, “and when I touched her skin my fingers ran with blood.” Beautiful, horrible, perfectly paired with the visual images in the credit sequence. I actually became a photographer by fortuitous accident, but that’s a separate story.
(Grid, clockwise from top left: Joseph Beuys, artist; Pouran Jinchi, artist; Werner Herzog, director; Mia Hansen-Løve, director. All images © Robin Holland.)