In the field, outside the controlled confines of the studio, a photographer is confronted with a complex web of visual juxtapositions that realign themselves with each step the photographer takes. Take one step and something hidden comes into view; take another and an object in the front now presses up against one in the distance. Take one step and the discription of deep space is clarified; take another and it is obscured.
Dubo, Dubon, Dubonnet, Paris, 1934 by André Kertész
quoted from The Depictive Level: Flatness, The Nature of Photographs by Steven Shore - A Primer. [ Phaidon, 2007, reprint from 2010]
photo from RMN
[this one’s for dear (OvO) and her lovely Analog Visions ]
Poster for Married by Satan /Venchal ikh satana [1917, Russia]
yet another gem from Wrong Side of the Art !
Kollektiv Rote Rube presents Liebe, Tod, Hysterie, ein Zirkus , between 1965 and 1980
[featuring Theda Bara from Salome]
from popartmachine & LOC
Blowing Smoke for the Blind Man by Aram Tanis
Opening: Friday, 20 May, 7.30 pm
Part of HABITAT. A group exhibition in seven part @ Kunstverein für die Rheinlande und Westfalen
Finale Ligure Carnevale, 1931 by Filippo Romoli
[via Vintage Blog from VINTAGE POSTER]
El sistema nervioso de gran simpático [The sympathetic nervous system], 1929
by Manuel Alvarez Bravo *
‘She floats all over the stage and into the audience, then vanishes like a fading cloud’
One of Thurston’s astounding mysteries [1906-1925]
from NYPL
Problem Cigarettes, 1912
Advertising poster by Hans Rudi Erdt
Poster by Henry Le Monnier, 1922
Madame DuBarry,1919 poster by Theo Matejko *
from Filmposter-Archiv
Alraune, die Henkerstochter, genannt die rote Hanne / the executioner’s daughter, called the red Hanne
[1918 version/first adaptation of Hanns Heinz Ewers’ novel]
poster by Theo Matejko [one more;]
[available here]
Poster by Hermann Keimel
Pandorra,1919 by Jan Toorop [also]
A moody, mystic conception of a woman as the quintessence of sin advertises Arthur van Schendel’s play “Pandorra” for its opening at the Dutch Theater. Influenced by Cubism, Toorop gave the design not only angularity, but a kind of gothic grimness befitting the tragic nature of the play. “Because of the Spanish Flu that terrorized Europe, public gatherings were to be avoided. As a result only a few proofs of this poster were printed, since the performances had to be canceled” [Le Coultre, p. 226]