guardianartanddesign:

Jacob Sutton’s best photograph: a dancer’s release

‘Immediately after this, Jonah hit the floor – hard. He’s a dancer: I love the commitment in his fall’

From Evžen Sobek’s Life in Blue series.

From Evžen Sobek’s Life in Blue series.

From Evžen Sobek’s Life in Blue series.

From Evžen Sobek’s Life in Blue series.

Yayoi Kusama, “Self-Obliteration No.2,” 1967

Yayoi Kusama, “LOVE IS FOREVER,” 2010 (via QAG)

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)

Susan Stranks, Family Fun: Things to make, do, and play, 1979

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.)