August Sander, “Secretary at West German radio in Cologne,” 1931. From the portfolio People of the 20th century, III The Woman, 17 The woman in intellectual and practical occupation.
(via NGV, Die Photographische Sammlung/SK Stiftung Kultur, August Sander Archiv, Cologne)
Theo Jansen’s Strandbeests
Susan Stranks, Family Fun: Things to make, do, and play, 1979
(via mythologyofblue)
René Magritte, The Blank Signature, 1956
Egon Schiele, Self-portrait with hands on chest, 1910.
Charcoal, watercolour and gouache. Kunsthaus Zug, Stiftung Sammlung Kamm (via National Gallery of Victoria)
Frida Kahlo for Vogue France, 1938.
(via strangecuriosities)
![Florence Henri, Self-portrait, 1928.
“[T]he camera’s frame is revealed as that which masters or dominates the subject, and the phallic shape she constructs for its symbol is continuous with the form that most of world culture has used for the expression of supremacy. The supplement is thus experienced emblematically, through the internalized representation of the camera frame as an image of mastery: camera-seeing essentialized as a superior power of focus and selection from within the inchoate sprawl of the real.” — Rosalind Krauss, “The Photographic Conditions of Surrealism”
(Image via PART8: Photography.)](http://24.media.tumblr.com/tumblr_loiqd3ueak1qzdo1wo1_400.jpg)
Florence Henri, Self-portrait, 1928.
“[T]he camera’s frame is revealed as that which masters or dominates the subject, and the phallic shape she constructs for its symbol is continuous with the form that most of world culture has used for the expression of supremacy. The supplement is thus experienced emblematically, through the internalized representation of the camera frame as an image of mastery: camera-seeing essentialized as a superior power of focus and selection from within the inchoate sprawl of the real.” — Rosalind Krauss, “The Photographic Conditions of Surrealism”
(Image via PART8: Photography.)
Joseph Beuys, Schwangere und Schwan (Pregnant Woman with Swan), 1959
(via proustitute: rerylikes)
Abelardo Morell, View of Central Park Looking North—Fall, 2008
“Explaining the optical principle behind the device is probably the most complicated thing about it. A camera obscura receives images just like the human eye—through a small opening and upside down. Light from outside enters the hole at an angle, the rays reflected from tops of objects, like trees, coursing downward, and those from the lower plane, say flowers, traveling upward, the rays crossing inside the dark space and forming an inverted image. It seems like a miracle, or a hustler’s trick, but it’s high school physics. The brain automatically rights the eye’s image; in a regular camera a mirror flips the image.”
(via Camera Obscura - Photo Gallery - National Geographic Magazine)
Attention Melbourne Tumblrers, your favourite mobile street photographer has an exhibition of new work opening tonight…
(Source: newmelbourne)
Lee Miller, Women With Fire Masks, Downshire Hill, 1941
(Source: weimarart.blogspot.com)
Kurt Kranz, Versinkende (Sinking one), 1931.
From Ingrid Kranz / Stiftung Bauhaus Dessau collections (via Exhibition: ‘Kurt Kranz: Programming of Beauty’ at the Bauhaus Dessau, Berlin « Art Blart).
Helen Levitt, Squatting girl/spider girl, New York City, 1980
(via Art Blart: jesuisperdu)
Terry Castle, I’m a Leg Man, 2011
