Showing posts with label outdoors. Show all posts
Showing posts with label outdoors. Show all posts
Tuesday, August 12, 2014
Monday, May 26, 2014
Sunday, May 25, 2014
Tuesday, May 20, 2014
Monday, May 19, 2014
Little Birds
Two self-portraits taken in 2013 by Brittany Market, from her "In Rooms" series. Perfect.
The book on the ground is, I assume, Little Birds, by Anais Nin, from which she quotes: "We do not see people as they are. We see people as we are."
Monday, May 12, 2014
Sunday, May 11, 2014
Hardcore Summer Reading
A lovely shot from a sexy blog, Parallel Slidings of Pleasure.
Sunday, May 04, 2014
Saturday, May 03, 2014
Tuesday, April 29, 2014
Monday, April 28, 2014
Friday, April 25, 2014
Monday, April 21, 2014
Saturday, April 19, 2014
Friday, April 18, 2014
Nude Selfie, the OG
"My first nude photography was a self-portrait in the woods, 1906, on the University of Washington campus. I set it up and jumped into it, and that was it."
--Imogen Cunningham
Imogen was born in Portland, Oregon, in 1883. When she was 18, she bought her first camera, a 4x5. But the story goes that she lost interest and sold it to a friend. When she was 23, she'd moved up to Seattle to attend the University of Washington. There she rekindled her joy of photography and took her first nude, serving as both photographer and model.
Labels:
artistic,
cameras,
college,
historic,
outdoors,
quickies,
self snaps,
true stories,
vintage
Monday, April 14, 2014
Wednesday, April 09, 2014
The Harvest, The Bare Breast, And Art History
Here is a really interesting series by Ukrainian photographer David Dubnitskiy. In this series, he depicts models in a moment of old-fashioned agrarian work: picking grapes, laundering clothes in a creek, and harvesting wheat. There is nothing modern within the frame. Although created in the 21st Century, they seem to deliberately evoke a pre-Modern, pre-Industrial time.
Although each image is carefully posed and composed, they still feel somewhat spontaneous, even voyeuristic, as if the young women are so focused on the toil of their chores, that they don't notice, or care, that their breasts are bared. In this sense, there's a simple physicality to the work. Anyone who has labored on a farm knows this; when you use your body to work in nature, there is little energy for modesty. Blisters reorient the brain's priorities, and the safe-garding of the body seems like the prissy privilege of the urban upper-class.
In a similar vein, women workers of the field, or indigenous tribes in Africa, South America, and the Pacific Islands regularly worked topless. They had no idea they were being "uncivilized"until European missionaries took it upon themselves to point it out.
But speaking of Europeans, in Art History, there's the tradition of the heroic "woman of the nation." Think of the French paintings like "Liberty Leading the People"(1830) of the woman of Liberty holding up the French Tri-colors in the midst of a raging battle field. She has one breast bared. This symbol of woman of strength and patriotism seems to work in these images by Dubnitskiy. The young women are healthy, hard-working, and the very salt of the "Mother Country." On this level, the images feel not only patriotic, but almost propagandict. It's the same concept the Nazis and Early Soviets used; the message was, "our future is in the pure strength of our past," and symbols used became the idealize young, healthy men and women of an idealized past. The symbol of the USSR was, after all, a hammer and a sickle--just like the sickle held in the right hand of Dubnitskiy's wheat harvester.
On the broadest level, these women at work in the field relate to the ripeness of agriculture--especially in the images of the plump grapes, the golden wheat--wine and bread--the very essence of Western Civilization. But even broader than that, the combination of the harvest and the naked female breast dates back to our earliest human memory. The oldest nude in civilization, after all, is the Fertility Goddess. In this regard, the women themselves in these photographs, and particularly their ripe breasts, become symbolic of the fecundity of land, the very Earth itself.
But regardless of how these images are interpreted and laden with symbolism and interpretation, they also act purely on an aesthetic level: they are beautiful.
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