il-faut-cultiver-notre-jardin:
Par une technique extraordinaire, Frederic Fontenoy métamorphose le corps d’un homme en une créature surréaliste et inquiétante.
Je me demande quelle technique utilise ce photographe pour obtenir ce résultat. Une pose longue j’imagine mais l’eau apparaît nette alors que les corps sont flous. Un vrai magicien de l’image pour une idée très originale!
(Fuente: setsofnine)
Shirin Neshat
(born March 26, 1957 in Qazvin, Iran) is a contemporary visual artist who lives in New York. She is known primarily for her work in film, video and photography. Neshat’s parents were upper middle-class. Her father was a well-respected physician and her mother a homemaker. She grew up in a westernized household that adored the Shah of Iran and his ideologies. Neshat has stated about her father, “He fantasized about the west, romanticized the west, and slowly rejected all of his own values; both my parents did. What happened, I think, was that their identity slowly dissolved, they exchanged it for comfort. It served their class” (Mackenzie 3). As a part of Neshat’s “Westernization” she was enrolled in a Catholic boarding school in Tehran. She found the environment cold and hostile in comparison to her caring family.
Bunny
Photographer: Polly Borland
Model: Gwendoline Christie
“The idea behind the photos I took of her was about taking the notion of a pin-up and turning it into more representational forms of the female, such as the Playboy Bunny. Then we thought of other things, such as a cat and a horse and other animals that are linked to female identity. For one iconographic picture, I put her in a home-made bunny costume. She wore thick pink ballet tights on her legs, arms and head, I drew the eyes with lipstick and the mouth with eyeliner and we stuffed the tights on her head with socks for ‘ears’. We made it up as we went along.”
- Polly Borland
Frankie Rayder by Steven Meisel for Vogue Italia January 1999
Alice Prin, better known as Kiki de Montparnasse, became a model for sculptors when she was 14, posing for Alexander Calder and Jean Cocteau and later Man Ray. Her defiant and sultry attitude helped define femininity in the 1920’sKiki was the toast of Montparnasse at a time when the popular quarter in south Paris welcomed penniless avant-garde artists and bohemian characters. Kiki was not particularly beautiful or elegant, but there was something electric about her: “she was very wonderful to look at”, said Hemingway.In 1921 she met Man Ray and accepted to pose for him. It was love at first sight. They moved in together to a modern building on rue Campagne Première. Kiki would entertain in her salon the greatest personalities of her time. Matisse, Picasso, Joyce and Gertrude Stein all dropped in.
IMG_1069 (by Oleg Andreev photography)
Billy & Hells
Claude Cahun
Claude Cahun es el pseudónimo de la fotógrafa y escritora francesa Lucy Renée Mathilde Schwob (Nantes, 1894 - Isla de Jersey, Inglaterra, 1954), sobrina del escritor Marcel Schwob, que adoptó el pseudónimo citado en honor de su abuelo Léon Cahun. Desde los años 20 empezará a publicar artículos y relatos (“Mercure de France”) y en 1929 publica por primera vez una fotografía (revista “Bifur”) y se integra en el grupo de teatro “Le Plateau”. Amiga de los escritores Henri Michaux, Robert Desnos y colaboradora en revistas (“Contre Attaque”) y asociaciones (Asociación de Escritores y Artistas Revolucionarios) con André Breton y George Bataille, en 1936 expone en París (Exposición surrealista de objetos) y en Londres (Exposición Internacional Surrealista).
Su obra fotográfica podemos definirla de algun modo como autobiográfica puesto que usa la fotografía como un medio de exploración y conocimiento de si misma. Autorretratos, retratos, fotomontajes, poemas visuales, entre otros géneros, son algunos de los medios que utiliza en ese proceso exploratorio donde tiene un papel protagonista la identidad sexual. En esa búsqueda Claude Cahun buscaba situarse en un tercer género que estuviese ubicado en un terreno entre (o distinto a) la bisexualidad, la homosexualidad y la androginia.
Christer Strömholm
Axel Poignant
(England, Australia, England 1906–1986)
Firebird
‘Firebird’ represents the peak of Poignant’s experimental period where he was actively seeking a freshness of expression through formalist means. While ostensibly not a dance image, this striking close-up of Pauline Wallace’s head is undoubtedly inspired by Stravinsky’s eponymous ballet with which Poignant would have been familiar with through his association with choreographer Linley Wilson. Poignant made numerous Ballet-Russes inspired studies of Wilson’s students as well as designing the lighting in a number of her productions. The harsh theatrical illumination emphasises the unexpected overhead angle, carving out the model’s disembodied head from the darkness to surreal and poetic effect. These devices were later incorporated much more subtly in Poignant’s documentary work and are symptomatic of the photographer’s tendency to condense the essence of the subject into significant details.
http://www.crossart.com.au/index.php/axel-poignant-photographer-the-early-years-1929-1942.html
Milk: what will you make of me?
Photography of portraits Alexa Meade painted directly on Sheila Vand’s body while submerged in a pool of milk.
Behind the scenes.
A short film and behind the scenes photography revealing the process of Alexa Meade and Sheila Vand’s collaboration
