frenchtwist:

Untitled (Mannequins) by Andrzej Pilichowski RagnoAlso
:
Untitled (Mannequins) by Andrzej Pilichowski Ragno

Also



Untitled by Gaston Paris Mannequin by Sonia Mossé for the Exposition Internationale du Surréalisme, Paris, 1938 

Untitled by Gaston Paris
Mannequin by Sonia Mossé for the Exposition Internationale du Surréalisme, Paris, 1938 




frenchtwist:

Mannequins in Félix Labisse’s studio, (Neuilly-sur-Seine, Paris) 1950Also

frenchtwist:

Mannequins in Félix Labisse’s studio, (Neuilly-sur-Seine, Paris) 1950

Also



Leavings / Threat / Phantoms / Landscapes / Threat from the series The World of Feelings and Imaginations by Zofia Rydet, 1970s




regardintemporel:

Denise Bellon - Mannequin de Wolfgang Paalen, 1938

regardintemporel:

Denise Bellon - Mannequin de Wolfgang Paalen, 1938




Jenny Kapitän, Pension Dorian, Berlin by Helmut Newton for ZOOM n°62, May 1979
Also

Jenny Kapitän, Pension Dorian, Berlin by Helmut Newton for ZOOM n°62, May 1979

Also




gacougnol:

Jolande des BouvrieDoublure

gacougnol:

Jolande des Bouvrie
Doublure




les-sources-du-nil:

Nakaji Yasui  安井 仲治 (1903-1942)
From the Photobook ‘Hikari’ (Light) Maruzen, Osaka, 1940

les-sources-du-nil:

Nakaji Yasui  安井 仲治 (1903-1942)

From the Photobook ‘Hikari’ (Light) Maruzen, Osaka, 1940




酷子

酷子




Caça ao Búzio by Fernando Lemos, 1949




Also

Caça ao Búzio by Fernando Lemos, 1949




Circeo Blu I and II by Camille Vivier

From Veronesi Rose, 2012

These girls? Their curves sketch infinity; their hollows end in, wisps of flesh, dark at times; their eyes pierce the image when they reach you. Waxy bodies drawing the image towards a less synthetic century. Artificial?

Bodies are framed, embedded and enclosed in a photograph. Caught in between limited spaces: in the depths of a boulder, on a rocky edge, on the top of a shelf. Impossible to escape. Bodies and curios end their way here: still lives aiming at anthropomorphic shapes. In a haze of orange, green, yellow or blue—everything surfaces and evokes the colors of ancient masters.

Another fact: these images are noisy. Noise, a misguiding word that silences light, and nourishes black and white for a richer silver print. These selfish pictures, pose, freeze out of a storyline. But they take everything they can from the present: urban oddities, the wanderings of a contempary eye, and fragments of a no longer ostentatious luxury. These images, they steal everything: remnants of forgotten French films, some Garrel, some Rivette—but there is no Amour Fou, only an imposed distance. Are they found images?
They don’t care about their times, because they curl up—in the city, in wilderness, in a studio or in a forsaken interior. They become a new kind of daguerreotype. It takes us the past to progress.
Light as feathers, round as breasts, these images are voluptuous, straightforward, they swallow everything. A sentence by Henry Michaux fits them well: “In the warm mist of a young girl’s breath I found a place…”.

— Fabrice Paineau on Vivier’s work




Daïdo Moriyama

Paris, 1989-1990 
Hawaii, 2007-2010 
Goshogawara (Aomori Prefecture), 1976

Also




les-sources-du-nil:

Josef Sudek
Untitled (Mannequin in the Studio of the Painter Andrei Bělocvětov), 1953-1957

les-sources-du-nil:

Josef Sudek

Untitled (Mannequin in the Studio of the Painter Andrei Bělocvětov), 1953-1957




regardintemporel:

Erik Truchinski

regardintemporel:

Erik Truchinski




frenchtwist:

Tragic Anatomies by Jake and Dinos Chapman, 1996

The Chapmans’ aim is to unearth the contradictions and hypocrisies present in contemporary culture, posing questions but providing no answers.

“There’s nothing we’ve done here that can rival the darkness of the imaginations of children. They aren’t the innocents that adults want them to be.” -J.C.

1. Forehead
2. Mirror, Mirror On The Floor Your Dad’s A Prick Your Mom’s A Whore
3. Catherine Milner

Fibreglass, resin and paint