Typology of vintage Japanese postcard envelopes. Mid 20th century. Via Letterology.
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Gun 1, New York, 1955 photographed by William Klein (x)
“… This seems to be considered my key image… It’s fake violence, a parody. I asked the boy to point the gun at me and then look tough. He did, and then we both laughed… [I see it] as a double self-portrait. I was both the street kid trying to look tough, and the timid, good little boy on the right.”](http://25.media.tumblr.com/8c8331384ce6548c2055f96f0adf7eb5/tumblr_mmr06aopxx1qa70eyo1_500.png)
Gun 1, New York, 1955 photographed by William Klein (x)
“… This seems to be considered my key image… It’s fake violence, a parody. I asked the boy to point the gun at me and then look tough. He did, and then we both laughed… [I see it] as a double self-portrait. I was both the street kid trying to look tough, and the timid, good little boy on the right.”
“People consider Los Angeles to be this chaotic, sprawling mess. This exhibition reveals that there is a plan, there is an order and a system to L.A. But I think its complexity is what makes it so interesting.” —Chris Alexander, curator
What is your L.A.?
On this week’s Getty Voices, curators Chris Alexander and Lyra Kilston are taking to social media and on-site informal “office hours” inside the exhibition at the Getty Center (Tuesday, May 14, 12-1pm; Wednesday, May 15, 12-1pm; and Thursday, May 16, 2-3pm) to hear your stories. L.A. is a complex place that perhaps is best described through a weaving of personal narratives.
This week we’re all ears, so please come talk to us in person, on Facebook or on Twitter #OurLA!
Case Study House #22, Pierre Koenig: view of two women in white dresses, 1960, Julius Shulman. The Getty Research Institute, Julius Shulman Photography Archive.
