
Vivian Maier :: Weight and Fortune, self-portrait, n.d. Gelatin silver print; printed later. / src: Howard Greenberg
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images that haunt us

Vivian Maier :: Weight and Fortune, self-portrait, n.d. Gelatin silver print; printed later. / src: Howard Greenberg
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Florence Henri
:: Self-portrait,
1938. Gelatin silver print dated 1970. Courtesy Archives Florence Henri, Genoa. Florence Henri © Galleria Martini & Ronchetti
/ source: HuffPost

Pierluigi Praturlon ::
Sofia Loren in a pause while filming I sequestrati di Altona, 1962, directed by Vittorio de Sica. / src: affaritaliani




In Portrait of the Eternal, Álvarez Bravo fashioned a modern vanitas image of contemplative mystery, which at first appears in line with Surrealist ideas of the female muse. But this was no ordinary choice of model and collaborator: it was Isabel Villaseñor. Already well known as a talented artist and poet, Villaseñor’s distinctive profile, curtain of luxuriant hair, and mestiza (mixed race) heritage resonated with Mexicanidad and an ongoing process of national re-creation during the post-revolutionary period. (text: MMoCA)

En Retrato de lo eterno, Álvarez Bravo construyó la imagen de una vanitas moderna de misterio contemplativo que a primera vista parece alinearse con ideas surrealistas sobre la musa femenina. Pero la elección de su modelo y colaboradora para esta imagen no fue una opción caprichosa. Se trataba de Isabel Villaseñor, ya para entonces bastante conocida como artista y una poeta talentosa. Su perfil inconfundible, el velo de su cabellera suntuosa y su herencia mestiza resonaban con el concepto de mexicanidad y con los procesos en curso de re-creación nacional durante el periodo posrevolucionario. (text: MMoCA · Madison Museum of Contemporary Art)


Bertand Sallé :: for ‘Veroníque Vaka – Minning um himinn’ video / src: B. Salle page on FB
video on youtube, follow link

Gaston Paris :: Reflection from a spherical mirror in the roof of an amusement ride in Paris, France, 1930′s

Hisaji Hara :: A Study of ‘The Happy Days’, 2009, from After Balthus, in this series of beautiful, monochrome
portraits Hisaji Hara has modelled his photographic compositions upon
paintings by Balthus (1908-2001) / src: Michael Hoppen
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