‘Untitled 1974’ was one of Bill Henson’s earliest photographic series. When photographing the ballerinas, he found himself fascinated by faces, ‘lost to the world, absorbed in the dance. So I photographed their faces rather than their bodies. I was drawn to the spirit of some person in a space.’ Bill Henson 2004
Sequences are an important part of Henson’s work, creating a dialogue between the images and enhancing both the meaning and effect. An image that is hard to discern singularly becomes more readable as part of a sequence, while at the same time the whole sequence seems to become more ethereal and requiring of an emotional response. AG of NSW
Masahisa Fukase ~ From Sasuke, ca. 1977. Atelier EXB (2021) | src Juxtapoz magazineMasahisa Fukase ~ From Sasuke, ca. 1977. Atelier EXB (2021) | src Juxtapoz magazineMasahisa Fukase ~ From Sasuke, ca. 1977. Atelier EXB (2021) | src Juxtapoz magazineMasahisa Fukase ~ From Sasuke, ca. 1977. Atelier EXB (2021) | src Juxtapoz magazineMasahisa Fukase ~ From Sasuke, ca. 1977. Atelier EXB (2021) | src Juxtapoz magazineMasahisa Fukase ~ From Sasuke, ca. 1977. Atelier EXB (2021) | src Juxtapoz magazineBook cover from Sasuke. Atelier EXB (2021) | src Juxtapoz magazine
In 1977, Fukase turned his lenses on his new companion Sasuke. Growing up with felines, he decides with the arrival of this new cat in his life that it would become a photographic subject in his own right, fascinated by this creature full of life named after a legendary ninja. Sasuke disappears after ten days and the photographer sticks hundreds of small posters in his neighborhood.
A person brings back his cat, yet it is not Sasuke but never mind he welcomes this new cat with as much affection. One year later, he takes a second cat named Momoe, entering the frame as well and he will never get tired of photographing their games. They become for the Japanese photographer a boundless experimental field leading to an extraordinary body of work in its technical and visual inventiveness.
As often in his work, this series shows a form of projection of the photographer into his subject. The cat, a faithful companion who never leaves him, takes the place of his wife, eternal heartache, later represented by the iconic fleeing crows.
A new book, Sasuke, is dedicated to Masahisa Fukase’s emblematic series on his two cats: Sasuke and Momoe, combining unpublished and iconic images. | Juxtapoz magazine
Masahisa Fukase ~ From Sasuke, ca. 1977. Atelier EXB | src ODLP ~ l’œil de la photographieMasahisa Fukase ~ From Sasuke, ca. 1977. Atelier EXB | src ODLP ~ l’œil de la photographieMasahisa Fukase ~ From Sasuke, ca. 1977. Atelier EXB | src ODLP ~ l’œil de la photographie
This publication is dedicated to Masahisa Fukase’s emblematic series on his two cats: Sasuke and Momoe, combining unpublished and iconic images. In 1977, Fukase turned his lenses on his new companion Sasuke. Growing up with felines, he decides with the arrival of this new cat in his life that it would become a photographic subject in his own right, fascinated by this creature full of life named after a legendary ninja. Sasuke disappears after ten days and the photographer sticks hundreds of small posters (as featured on the cover of the book) in his neighborhood. A person brings back his cat, yet it is not Sasuke but never mind he welcomes this new cat with as much affection. One year later, he takes a second cat named Momoe, entering the frame as well and he will never get tired of photographing their games. They become for the Japanese photographer a boundless experimental field leading to an extraordinary body of work in its technical and visual inventiveness.
As often in his work, this series shows a form of projection of the photographer into his subject. The cat, a faithful companion who never leaves him, takes the place of his wife, eternal heartache, later represented by the iconic fleeing crows.
His cats have been the subject of several books in his lifetime and Tomo Kosuga has dug into the photographer’s archives to conceive this ultimate book as the achievement of a series of publications devoted to his cats. / text: Atelier EXB
Masahisa Fukase ~ From Sasuke, ca. 1977. Atelier EXB | src ODLP ~ l’œil de la photographieMasahisa Fukase ~ Front cover from Sasuke. Texts by Masahisa Fukase and Tomo Kosuga | src Atelier EXB
Tornado near Jasper, Minnesota, July 8, 1927 taken by 15 year old Lucille Handberg | src Billy Parrot Collection (view on Fb)
Two theories: the second tornado snapshot (on the bottom) had a Canedy’s Camera Shop 1927 date stamp on the verso. Canedy’s was in South Dakota and sold local souvenir snapshots (Bad Lands, Black Hills, etc…) between the 1920s – 1940s. It is also probable that when 15-year old Lucille Handberg took this photo her neighbor, who was an engineer, recognized its importance and sent copies to scientists around the country and these could be two of those. text adapted from source : Billy Parrot
Tornado near Jasper, Minnesota, July 8, 1927 taken by 15 year old Lucille HandbergTornado near Jasper, Minnesota, July 8, 1927 taken by 15 year old Lucille HandbergTornado near Jasper, Minnesota, July 8, 1927 taken by 15 year old Lucille Handberg
The images above this line are most probably scanned from newspapers of the time, we were not able to find the original source. The second image is from The Gallery of Natural Phenomena, where you can read more about the circumstances in which the photo was shot. [x]
Only the image below can be reached on the Library of Congress.
AWE-INSPIRING – This unusual photo of a South Dakota “twister” was made by Miss by Lucille Handberg at the risk of her life. Published in New Britain Herald (New Britain, Conn.), August 6, 1928, page 14 | src Library of CongressThe classic photograph of a tornado taken near Jasper, Minnesota, on July 8, 1927 (Lucille Handberg) – Scan
Controversy arises : Jasper tornado of 1927 is, according to South Dakota Public Broadcasting (based on information from Siouxland Heritage Museums), the Sioux Falls tornado of 1932…
… view two images below.
The Deadly Sioux Falls Tornado of 1932. Siouxland Heritage Museums | src images of the PastThe Deadly Sioux Falls Tornado of 1932. Siouxland Heritage Museums | src South Dakota Public BroadcastingImage of the famous tornado used on the cover of book ‘The Breath of God’ by Swami Chetanananda [作者] (1988) | src amazonImage from the cover of book ‘The Breath of God’ by Swami Chetanananda, retrieved from internet archiveCover of book ‘The Breath of God’ by Swami Chetanananda, retrieved from internet archiveCover of Tinderbox, the seventh album by English rock band Siouxsie and the Banshees, released on 21 April, 1986Cover design of the album Stormbringer by Deep Purple (1974)Cover of Bitches Brew, a studio double album by jazz musician Miles Davis, released on 30 March, 1970
Film still from The Sorrows of Satan (D.W. Griffith, 1926), starring Adolphe Menjou, Carol Dempster, Ricardo Cortez and Lya de Putti The screenplay was based on the Victorian gothic novel by Marie Corelli (1895)
Watch the film on YouTube ~ link to this scene : here
Nevertheless, our favorite scene takes place a few minutes before during the night in Geoffrey’s ominous mansion. Geoffrey’s wife, an exotic Russian princess in exile (Lya de Putti) confess Prince Lucio that she married Geoffrey only to be near him (Satan). Geoffrey awakens and creeps down the stairs to find his wife throwing herself at Lucio’s feet. It’s a suspenseful sequence with shadowy shots of the mansion that looks menacing. Link to scene
Read the novel on Project Gutenberg : The Sorrows of Satan or, The Strange Experience of One Geoffrey Tempest, Millionaire, A Romance : eBook
Cover design for Bela Lugosi’s Dead, the first single by the English post-punk band Bauhaus, released on 6 August 1979 It is often considered the first gothic rock record
Listen to «Bela Lugosi’s Dead» on Bauhaus Official YouTube channel
Jan Saudek :: Theater of Life, Panorama, 1991Jan Saudek :: Paula poses for the first and the last time, 1978. | src LempertzJan Saudek :: No title (Draped nude), from the Story from Czechoslovakia, my country series, 1965-1975 | src NGV Collection Online
Laurence Sackman :: Insomnia, 1972 – courtesy in camera galerie. | src ODLP ~ l’œil de la photographieLaurence Sackman :: Insomnia, 1972 – courtesy in camera galerie. | src ODLP ~ l’œil de la photographieLaurence Sackman :: Insomnia, 1972 – courtesy in camera galerie. | src ODLP ~ l’œil de la photographieLaurence Sackman :: Insomnia, 1972 – courtesy in camera galerie. | src ODLP ~ l’œil de la photographieLaurence Sackman :: Insomnia, 1972 – courtesy in camera galerie. | src ODLP ~ l’œil de la photographie
Laurence Sackman :: Untitled. Courtesy Galerie in camera. | src ODLP ~ l’œil de la photographieLaurence Sackman :: Table girl, NY, 1976. Courtesy Galerie in camera. | src ODLP ~ l’œil de la photographieEija, Paris, 1973. Courtesy Galerie in camera. | src ODLP ~ l’œil de la photographie
Laurence Sackman (1948 – 2020) started his career at the early sixties in the sulfurous world of fashion and advertising. His photographs were published in every great magazines of that time, Vogue, Stern, Sunday Times, Elle, Marie-Claire… The off-the-wall spirit of his photographs made him one of the most iconic photographers of the 70s and 80s, assisted by Paolo Roversi, and by the side of Guy Bourdin and Helmut Newton.
His photographs are powerful, explosive, and sometimes erotic, they witness the passion and craziness that inhabited him for decades. He had a great mastery of black and white and colors. Intense and raw, the use of these shades made his work singular.
Only a hundred prints are left from his career, most of them disappeared during his life. quoted from ODLP
London, 1971. Courtesy Galerie in camera. | src ODLP ~ l’œil de la photographie
In partnership with Fabienne Martin, the galerie in camera gallery lifts the veil on the work of Laurence Sackman, cult fashion photographer of the 1980s.
Laurence Sackman was born in 1948 in Wembley, a suburb of north London. He started out in photography at the age of 14, assisting still life photographer Sidney Pisan, who also practiced as a dentist. With Pisan, the young Sackman was initiated to the ring-flash that his mentor used in his medical practice and in his artistic activity. A few years later, Sackman was one of the first fashion photographers to use this type of shadow-reducing lighting.
Laurence Sackman’s contribution to photography cannot be reduced to pretty lights polished in the studio. His work, both poetic and subversive, strongly tinged with eroticism, had the imprint of a lively sensitivity. An era is reflected in it, where all daring was permitted.
His exceptional mastery and sharp gaze hatched on the cusp of the “swinging sixties”. London, the capital of pop culture, that blew a breath of freedom in art, music and fashion. Twenty years old in 1968, Sackman was part of this hedonistic youth, in full sexual liberation, eager to live in a more liberal and permissive society.
He began by photographing his relatives, his wife Rémi, his cousins. The star models of the decade posed in front of his lens: Anglo-Indian Chandrika Casali, muse of Guy Bourdin and David Bailey, the iconic Grace Jones, or Renate Zatsch, muse of Helmut Newton. Without forgetting Twiggy, emblematic model of the “swinging London”.
Laurence Sackman’s images are often transgressive. His signature was essential in magazines. He worked for Esquire, Stern, Queen, The Sunday Times, Nova, the New York Times. In Paris, the Jardin des Modes and Vogue Hommes requested him.
Friend of photographer Steve Hiett who introduced him in 1970 to Claude Brouet, editor-in-chief of Marie-Claire and to Emile Laugier, its talented artistic director, Sackman left no one indifferent. Emile Laugier remembers a young man with bright intelligent eyes, high standards, with very precise directing ideas, he knew exactly what he wanted. Alain Lekim, Laurence Sackman’s assistant for a few years, was so fascinated by the artist that he abandoned a very promising start to his career in photography to devote himself to him. The famous Paolo Roversi was his assistant. But then found Sackman “difficult to live with” but testifies “that he taught him everything”.
At that time, the name of Sackman was on everyone’s lips in the fashion microcosm. We only talked about his eccentricities, and, above all, his modernity, his inventiveness. Sackman carried out advertising campaigns for prominent brands: Saint-Laurent, Audi, De Beers.
One day, at the request of Yves Saint-Laurent himself, Sackman attended the preparatory meeting for a campaign where ideas were exchanged. What would he propose? To take pictures on the moon…
When asked about the posterity of his style, Helmut Newton saw himself with two heirs: Laurence Sackman and Chris von Wagenheim. In fact, Sackman was the referent photographer of the 80s.
In 1983, he did his last opus, a series of nudes produced in room 65 of the Hotel La Louisiane, which became in a way his testament. According to him, the series constitutes his most successful work.
Suffering from psychiatric disorders, Laurence Sackman ended his photographic activity in 1984.
In this regard, he confided in 2017: “When I stopped photography, I felt like I had done everything I wanted to do. I had no regrets. I firmly believe that I would have repeated myself had I continued. ”
Such was Laurence Sackman, a celestial body, a comet that crossed the eighties.
Oľga Bleyová (1930 – 2019) :: Akt IV, 1973. Red toned gelatin silver print. From: Akt I-V, 1973. | src Slovenská národná galéria ~ SNGOľga Bleyová (1930 – 2019) :: Akt III, 1973. Red toned gelatin silver print. From: Akt I-V, 1973. | src Slovenská národná galéria ~ SNGOľga Bleyová (1930 – 2019) :: Akt I, 1973. Red toned gelatin silver print. From: Akt I-V, 1973. | src Slovenská národná galéria ~ SNGOľga Bleyová (1930 – 2019) :: Akt V, 1973. Red toned gelatin silver print. From: Akt I-V, 1973. | src Slovenská národná galéria ~ SNG
Oľga Bleyová (1930 – 2019) belongs to the generation of Slovak photographers that emerged on the art scene betweenthe 1960s and 1970s, and was open to experimenting in photography. She brought to photography her sense of imagination and poeticism, and conveyed her female view into a thoroughly articulated message. Her nudes can, without any doubt, be considered among her most distinctive work.
un regard oblique 