Monday, December 31, 2012

Billie Holiday / Autum in New York

by Billie Holiday


Autumn in New York
Why does it seem so inviting
Autumn in New York
It spells the thrill of first-nighting

Glittering crowds and shimmering clouds
In canyons of steel
They're making me feel
I'm home

It's autumn in New York
That brings the promise of new love
Autumn in New York
Is often mingled with pain

Dreamers with empty hands
May sigh for exotic lands
It's autumn in New York
It's good to live it again

Autumn in New York
The gleaming rooftops at sundown
Autumn in New York
It lifts you up when you're let down

Jaded roué and gay divorcé
Who lunch at the Ritz
Will tell you that
It's divine

This autumn in New York
Transforms the slums into Mayfair
Autumn in New York
You'll need no castle in Spain

Lovers that bless the dark
On benches in Central Park
Greet Autumn in New York
It's good to live it again

Sylvie Blum / Big Cats


Sylvie Blum


Sunday, December 30, 2012

Alek Wek / Champ de Couleur


Model: Alek Wek
Photographer: Jean-Baptiste Mondino
Champ de Couleur
Vogue Paris, December/January 1997-98
Dress by Martine Sitbon


Saturday, December 29, 2012

Ruth Bernhard / Nudes II

Ruth Bernhard

Ruth Bernhard was born in Berlin in 1905. In 1927, after two years at the Berlin Academy of Art, Ruth moved to New York where she began to seriously pursue a career in photography. Eight years later she met Edward Weston in California and was deeply moved by his work. He revealed to her the profound creative potential of photography and its artistic implications. Desiring to work with him, she moved to to the West Coast shortly thereafter.

In 1953, she moved to San Francisco and became a colleague of Ansel Adams, Imogen Cunningham, Minor White and Wynn Bullock. She has lectured and conducted master classes throughout the United States through her 95th birthday.

It was at the age of 24 that Ruth first struck at the chord of professional photography. In 1929 she took a job as a darkroom assistant for the New York magazine The Delineator, working under the supervision of Ralph Steiner. But she wasn’t terribly excited about the position and soon left the magazine’s employ. With her severence pay she bought herself an 8 x 10 viewfinder camera and with it began taking portraits of her father’s friends – a circle of designers and artisans. From this point she sustained herself as a freelance photographer while, as well, exploring her own interest in still lifes, fashion, architecture, advertising, etc.

In 1935 Ruth met Edward Weston on a beach in Santa Monica, California. It was a meeting that would transform and elevate her entire perception of photography. « I was unprepared for the experience of seeing his pictures for the first time. It was overwhelming. It was lightning in the darkness … here before me was indisputable evidence of what I had thought possible – an intensely vital artist whose medium was photography. » The mere realization that photography could be Art, in its truest sense, was enlightening. Soon thereafter, Ruth moved to the West Coast to study with Edward Weston in Carmel.

Making a living in Carmel proved to be difficult and so she packed her bags for Hollywood where she opened her own studio. Much of her clientele were celebritries who brought in their children to have their portraits taken—many of them posing with their beloved dolls or pets. Then in 1953, she made the move to San Francisco, where she has made her home for the last 47 years.

While making a living as a commercial photographer, Ruth still found the time to devote energy to her personal, creative outlets. Her nude images of women are some of the most highly regarded within the breadth of her portfolio. Her visions of the female form are classical derivates that maintain a vernacular sensuality. Yet it has been even simpler subjects that have always charmed her heart—from children’s dolls to found shells on the beach shore. Ruth Bernhard’s photographs of these ever common objects exudes a feeling of sentimentality and personal clause.

In te Waves, 1945

Trees Reflected in a Shaving Mirror, 1958

Embryo, 1934

In circle, 1934

Nude bowl, 1934

Spanish dancer, 1971

Enigma, 1970

At the Pool, 1951

Vailed Nude, 1968

Transparent, 1968

Double Vision, 1973

Golden Light, 1960

Configuration, 1962

Abstract Torso, 1947
Profiles, 1967

Veiled Black, 1947

Rockport Nude, 1947

Silk, 1968

Folding, 1962

Untitled, 1953

Hips Horizontal, 1975

Neck Study, 1958

Carmen, dancer in reposo, 1951
Ruth Bernhard
Dream Figure, 1968
From Ruth Bernhard: The Eternal Body
Dream Figure, 1968
Ruth Bernhard - Hourglass, 1971
From Ruth Bernhard: The Eternal Body
Hourglass, 1971
Ruth Bernhard - Wet Silk, 1938
From Ruth Bernhard: The Eternal Body
Wet Silk, 1938

Friday, December 28, 2012

Ruth Bernhard / Nudes I

by Ruth Bernhard 

Ruth Bernhard photo

Ruth Bernhard
Classic torso with hands

Ruth Bernhard

Ruth Bernhard

Ruth Bernhard
Early nude

Ruth Bernhard

Ruth Bernhard
Perspective II

Ruth Bernhard
The Crossover

Ruth Bernhard
The Lumin Body

Ruth Bernhard
The Triangles

Ruth Bernhard
Veiled Black

Ruth Bernhard

Ruth Bernhard
by Larry Colwell