Tag: portrait, Porträt, retrato, ritratto, portret, retrat, Bildnis

Mario Cresci

:: 
Inside views / Interiors, 1967-1978 / via
realityayslum

“1967 was the year of the first Ritratti mossi (a study resumed
later in 1974), figures in interiors whose faces are blurry in a moved
photo. While objects and places are in focus and are therefore visible,
the people are out of focus: newcomer Cresci tries to tell a story of
their identity through the physical data of the environment.

[…]

Between 1978 and 1979, he produced a series of portraits in Barbarano
Romano, returning to the idea of cancelling the appearance of people
through the blur effect. He also included himself among them.”

quoted from original source: mufoco.org

Source: realityayslum

Katharine Hepburn (RKO, 1930′s).

A
casually beautiful portrait of the young star in a striped art deco
bathing suit, ready for a day at the beach. Just a tremendous Golden Age
of Hollywood artifact that appears to have been published in an issue
of Motion Picture Magazine. The exact year is unknown, but handwritten
text to verso seems to link this to a publicity campaign for a Hepburn
movie that never completed filming, “Three Came Unannounced.” original source: eBay / via
gmgallery

Khadija Saye :: Dwelling: in this space we breathe is a series of wet plate collodion tintypes that explores the migration of traditional Gambian spiritual practices and the deep rooted urge to find solace within a higher power. This series of tintypes were produced with artist, Almudena Romero.

Currently exhibited at the Diaspora Pavilion during the 57th Venice Biennale: May – November 2017

newyorker:

In the alluring, atmospheric book “Jazz Images,” the late photographer Jean-Pierre Leloir conveys in images the French love of jazz and its heroes. Leloir, who worked for a wide range of publications, was able to take his photographs because the great musicians of the time came to France to perform, whether in Paris clubs and theatres or at the Antibes Jazz Festival, and many of the musicians whose portraits he took or whom he documented in concert were the luminaries of jazz modernity.  Read more here. 

Source: newyorker.com