Dialogues 2015-1910s (?)

Ronit Porat :: Untitled Kinesphere (Valeska Gert) | Tmuna Theater Gallery, Tel Aviv, 2015 | src Flickr
Valeska Gert [Berühmte Tänzerinnen (Famous Dancers) # 98] Phot. Atlantic | src Flickr

Pulling Laundry, 1925-2015

Ronit Porat :: Untitled, from Kinesphere | Tmuna Theater Gallery, Tel Aviv, 2015 | src Ronit Porat
Rhythmische Gymnastik: Wäscheziehen (System Mensendieck). Phot. Lili Baruch. UHU Magazin, Oktober 1925. | src Flickr

Ronit Porat’s photocollages

Ronit Porat :: untitled, from: The Sentence – The Trilogy, Part 3 | Tel Aviv Museum of Art, 2018. | src Ronit Porat website
Photocollage from: Balance. Exercise on the knees. «Playful gymnastics». Photograph by Friedrich Seidenstücker
Scherl’s Magazin, Heft 5, Mai 1930 and unknown (bird)
Friedrich Seidenstücker :: Balance. Exercise on the knees. «Playful gymnastics». Scherl’s Magazin, Heft 5, Mai 1930. | src arthistoricum ~ Universität Erfurt
Ronit Porat :: Untitled, 2018 [Friedrich Seidenstücker (Untitled) Scherl’s Magazine, May 1930; G. O. Dyhenfurth (Untitled) Scherl’s Magazine, November 1930] | src Manofim
Friedrich Seidenstücker :: One that seeks its center of gravity. Playful gymnastics. Scherl’s Magazin, Heft 5, Mai 1930. | src arthistoricum ~ Universität Erfurt

The Theater of Insects

Jo Whaley :: Lyropteryx Apollonia, 2008. From: “The Theater of Insects”, published by Chronicle Books. | src l’œil de la photographie and Flickr
Jo Whaley :: Colias Eurydice, 2008. From: “The Theater of Insects”, published by Chronicle Books. | src l’œil de la photographie and Flickr

Ballerina, ca. 1931 (collage)

Willy Otto Zielke :: Ballerina, ca. 1931. Vintage gelatin silver print. Photocollage with partial handcolouring in Agfa Brovira paper. Unique work. Signed in pencil on the reverse. | src Grisebach

Wendt’s photomontages

Lionel Wendt :: Gay Abandon, ca. 1940, photogravure, from Lionel Wendt’s Ceylon (London, Lincolns-Prager Publishers Ltd, 1950) | src British Art Studies
Lionel Wendt :: Adventures in Space, ca. 1930s-1940s, photogravure, from Lionel Wendt’s Ceylon (London, Lincolns-Prager Publishers Ltd, 1950) | src British Art Studies

Wendt’s photomontage has been most conventionally and variously comprehended through its pastiche of influences and motifs such as De Chirico’s futurist arches, Magritte’s “Ceci n’est pas un oeuf,” Piero della Francesca’s Brera Madonna, Georges Bataille’s rumination on the story of the eye, and the recurrent vignette of a distant brig. Although he clearly held great admiration for those artistic circles he came into contact with in Europe, it seems a bit too summary merely to insert him within these narratives. (quoted from source)