Tag: form

Imitation / Form, 1916

Form. A Quarterly of the Arts, April 1916, nº 1, vol. 1. John Lane, London & John Lane Co., New York. Edited by Austin Osman Spare and Francis Marsden. (Imitation, illustration by Herbert Cole). | src Universtitätsbibliothek Heidelberg

Form. A Quarterly of the Arts

Form. A Quarterly of the Arts, April 1917, nº 2, vol. 1. John Lane, London & John Lane Co., New York. Edited by Austin Osman Spare and Francis Marsden. (Untitled illustration by Austin O. Spare, dated 1911-12). | src Universtitätsbibliothek Heidelberg

The Grotesque / Form, 1916

Form. A Quarterly of the Arts, April 1916, nº 1, vol. 1. John Lane, London & John Lane Co., New York. Edited by Austin Osman Spare and Francis Marsden. Page 4. The Grotesque (illustration by Austin O. Spare). | src Universtitätsbibliothek Heidelberg

Jacobi’s ‘photogenics’

Lotte Jacobi (1896 – 1990) ~ Birdform, 1946-1955 (printed 1981). Platinum print. | src Akron Art Museum
Lotte Jacobi (1896 – 1990) ~ Bird in Flight – Homage to Brancusi, 1946-1955 (printed 1981). Platinum print. | src Akron Art Museum

Though best known for her portraits of famous people, Jacobi also experimented with abstraction in her “photogenics.” She described making these photograms (photographs made without a camera) as drawing on photo-sensitized paper by moving the light source. While photography is most often used to document the external world, Jacobi’s abstractions are a vehicle for imagination.

Lotte Jacobi (1896 – 1990) ~ Untitled photogram, 1946-1955 (printed 1981). Platinum print. | src Akron Art Museum
Lotte Jacobi (1896 – 1990) ~ Untitled photogram, 1946-1955 (printed 1981). Platinum print. | src Akron Art Museum

Edward Weston :: Bedpan, 1930 / more [+] by this photographer

“Weston adopted the “form follows function” dictum, originally coined by the modern American architect Louis Sullivan as his own credo in the mid-1920′s and spent the remainder of his career extracting the essential structure of objects before his camera. Like other modernist photographers such as Man Ray and László Moholy-Nagy, his work proved that the formal character of the photograph could override the content, but, unlike them, he preferred to use recognizable, everyday objects from the natural and industrial world to assert his claim.”/ src: Metropolitan Museum