Untitled by Eugene Von Bruenchenhein1940s-1950s

Also




frenchtwist:

Untitled (String of Pearls) by Jonė ReedAlso

frenchtwist:

Untitled (String of Pearls) by Jonė Reed

Also



Untitled, Marie by Eugene Von Bruenchenhein, 1940s

Untitled, Marie by Eugene Von Bruenchenhein, 1940s




kirgiakos, juergo:

“Ariadna’s Necklace of Tears” by Slawomir Rumiak

kirgiakosjuergo:

Ariadna’s Necklace of Tears by Slawomir Rumiak




Eugene Von Bruenchenhein, Untitled, Marie, 1940s 
Via Dossier Journal

Eugene Von Bruenchenhein, Untitled, Marie, 1940s 

Via Dossier Journal




Zoe Leonard, Wax Anatomical Model with Pearls, 1990
"Why photography? Why this medium? Of course there are many uses of photography, artists like Cindy Sherman who essentially document a performance, or photojournalists like Susan Meiselas or Donald McCullum, or fine artists like Penn and Weston. For me photography is intrinsically about observation. It’s about being present in and having a certain perspective on, the world around me. It’s not so much about creating, or my imagination — as drawing, for instance, may be. It’s more about responding. Choosing to look at certain objects or situations. It’s not just what I’m looking at but how I look. Photographs play with the idea of absolute truth. When people look at a photograph, they believe it. We believe that it exposes reality. That a portrait can show someone’s true character. If you see a picture of something, you believe it really happened that way. Pictures are proof. My photographs crawl along that edge. I document the world, but from my own biased point of view. I want to draw the viewer into the process of looking so we can look at these things together. I want to show you what I see. I take pictures of what moves me. Sometimes it’s beauty — the waterfalls, the ocean. Things that fill me with awe. Sometimes it’s gathering evidence, spying on our culture. Things that scare me or disgust me or make me angry. The one part that’s frustrating is if I’m feeling a certain way or want to express certain thoughts, I have to actually find something out in the world that visually conveys that to me, something to take pictures of."
— Zoe Leonard interviewed in Journal of Contemporary Art
(Also)

Zoe Leonard, Wax Anatomical Model with Pearls, 1990

"Why photography? Why this medium? Of course there are many uses of photography, artists like Cindy Sherman who essentially document a performance, or photojournalists like Susan Meiselas or Donald McCullum, or fine artists like Penn and Weston. For me photography is intrinsically about observation. It’s about being present in and having a certain perspective on, the world around me. It’s not so much about creating, or my imagination — as drawing, for instance, may be. It’s more about responding. Choosing to look at certain objects or situations. It’s not just what I’m looking at but how I look. Photographs play with the idea of absolute truth. When people look at a photograph, they believe it. We believe that it exposes reality. That a portrait can show someone’s true character. If you see a picture of something, you believe it really happened that way. Pictures are proof. My photographs crawl along that edge. I document the world, but from my own biased point of view. I want to draw the viewer into the process of looking so we can look at these things together. I want to show you what I see. I take pictures of what moves me. Sometimes it’s beauty — the waterfalls, the ocean. Things that fill me with awe. Sometimes it’s gathering evidence, spying on our culture. Things that scare me or disgust me or make me angry. The one part that’s frustrating is if I’m feeling a certain way or want to express certain thoughts, I have to actually find something out in the world that visually conveys that to me, something to take pictures of."

— Zoe Leonard interviewed in Journal of Contemporary Art

(Also)




defrag:
My Secret Eye by Karin Székessy from frenchtwist

defrag:

My Secret Eye by Karin Székessy from frenchtwist



Crop from a poster for Beyond Love and Evil (La philosophie dans le boudoir / Philosophy in the Bedroom) (Jacques Scandelari, 1971)
(via purdey2000, nevver)

Crop from a poster for Beyond Love and Evil (La philosophie dans le boudoir / Philosophy in the Bedroom) (Jacques Scandelari, 1971)

(via purdey2000, nevver)




garconniere:

liquorinthefront:

Source


'les seduction' - lindsay podd, 2008

garconniere:

liquorinthefront:

Source

'les seduction' - lindsay podd, 2008




billyjane:

piece of Weimar art
fromVoluptuous Panic: The Erotic World of Weimar Berlin by Mel Gordon
via cunnison

billyjane:

piece of Weimar art

fromVoluptuous Panic: The Erotic World of Weimar Berlin by Mel Gordon

via cunnison




Anna Malmberg, Fanzzmela 3

Anna Malmberg, Fanzzmela 3




Zoe Leonard, Wax Anatomical Model (Shot Crooked from Above), 1990
Via the pandorian
"I first saw a picture of the anatomical wax model of a woman with pearls in a guidebook on Vienna. She struck a chord in me. I couldn’t stop thinking about her. She seemed to contain all I wanted to say at that moment, about feeling gutted, displayed. Caught as an object of desire and horror at the same time. She also seemed relevant to me in terms of medical history, a gaping example of sexism in medicine. The perversity of those pearls, that long blond hair. I went on with this work even though it is gory and depressing because the images seem to reveal so much.”

Zoe Leonard, Wax Anatomical Model (Shot Crooked from Above), 1990

Via the pandorian

"I first saw a picture of the anatomical wax model of a woman with pearls in a guidebook on Vienna. She struck a chord in me. I couldn’t stop thinking about her. She seemed to contain all I wanted to say at that moment, about feeling gutted, displayed. Caught as an object of desire and horror at the same time. She also seemed relevant to me in terms of medical history, a gaping example of sexism in medicine. The perversity of those pearls, that long blond hair. I went on with this work even though it is gory and depressing because the images seem to reveal so much.”