Photoset with 37 notes
"And didn’t the doll, which lived solely through the thoughts projected into it, and which despite its unlimited pliancy could be maddeningly stand-offish, didn’t the very creation of its dollishness contain the desire and intensity sought in it by the imagination? Didn’t it amount to the final triumph over those young girls – with their wide eyes and averted looks – when a conscious gaze plundered its charms, when aggressive fingers searching for something malleable allowed the distillates of mind and senses slowly to take form, limb by limb?
Fit one joint to the other, swivel the ball-joints full circle and test them for childlike poses, gently trace the hollows, savour the pleasures of the curves, stray into the opening of an ear, do pretty things while simultaneously scattering the salt of deformation with a hint of vengeance.
Isn’t that the solution?”
— Hans Bellmer, The Doll
Photo with 38 notes
Babyarms by Ghérasim Luca for The Passive Vampire, 1945
"In the world in which I like to breathe, a box can take on the same psychic content of a beloved woman; the delirious and fetishistic love between a man and a box thus casts a prophetic, thaumaturgic light onto the outer world."
— Ghérasim Luca, The Passive Vampire
in another dimension
Barbara Kruger - Untitled (Use Only as Directed), 1988.
… from A History of Women Photographers by Naomi Rosenblum, Abbeville Press, 1994.
St. Roch Cemetery in New Orleans, 1941
Row of dolls heads during production, Germany, 1950
Photograph by Edward Clark. Louisiana, USA, February 1947.
Broken Doll at Flea Market, Paris by Frank Horvat, 1958
Hans Bellmer - Komposition, 1934.
Wols (Alfred Otto Wolfgang Schulze) - Pavillon im Aufbau (Puppenarme), 1937
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