Helen Levitt, New York, c. 1942
“the photograph suspends an instant of time; conjoining urban space and gesturing bodies, it infuses an arresting sense of solemnity and grace into a scene from everyday life. Positioned between home and street, private and public, the real and the fantastic, the three children are experimenting with alternate identities afforded by the most rudimentary of props—a piece of cloth with eyeholes cut out to make a mask. Their play is marked by an ephemeral artfulness, an emphasis on the act of viewing, and an urban context; it thus presents an emblem of the street photographer’s practice: they, too, are heading out into the city, flâneur-style, to partake of strange spectacles.” (Child’s Play in Helen Levitt’s Early Photographs)
Shoppers - II
“i love you and you don’t mind having me around all the older girls really like to boss me around all bets are on me now we were looking for a marry anyhow but you are not quite what we want”
"I want to stay in this room forever not with man the father but with man the son, carving, painting, dancing dreaming, and always beginning, born anew everyday, never aging, full of faith and impulse, turning and changing to every wind like the mobiles. I do not love those who have ceased to flow, to believe, to feel. Those who can no longer melt, exult, who cannot let themselves be cheated, laugh at loss, those who are bound and frozen."
Anaïs Nin, Children of the Albatross
