~ tiger style ~

Those who gave thee a body, furnished it with weakness;
but He who gave thee Soul, armed thee with resolution.
Employ it, and thou art wise; be wise and thou art happy.
—Akhenaten

Somaly Mam by Douglas Kirkland

Somaly Mam is radiant, a light, a fire, a flame. She blazes a path, one woman set to change the course of the world so long as she walks the earth. Orphaned at a young age then sold into a brothel in Cambodia around age 12, Somaly Mam knows the truth about the slave trade. She not only escaped, but has liberated thousands of women and children from sexual slavery and aided tens of thousands more in having a voice and a choice in their life. She risks her life for the lives of others. To listen to her story, and to hear the stories of the women and girls she has assisted, is a lesson in honor, humility, and humanity.

Few speak on the sale of human beings, the outcomes of these transactions too illicit for polite company. But Somaly speaks, and when she does, people listen. Eyes are opened. Policies begin to change. But most of all, lives are saved. The slave trade runs rampant, crossing borders everywhere from New York City to Phnom Penh. It’s an international issue, but it does not receive the attention that it deserves. Yet when people meet Somaly, they feel charged to take action.

Price Arana, CEO of Press Cabinet, a Los Angeles-based branding and advertising agency, first met Somaly Mam in the fall of 2012, at a private gathering of friends organized by Angella Nazarian. As Nazarian recounts, “For the past few years I have been doing in depth research on women who have been the trailblazers—women who have dared to have a bold vision for change and have impacted their field in the most meaningful way. Somaly Mam has single-handedly brought sex trafficking on a global platform and has saved thousands of girls from sexual slavery. I was so touched by Somaly’s own life and work that I dedicated a chapter on Somaly’s life and work in my book, Pioneers of the Possible: Celebrating Visionary Women of the World [which was previously featured in Le Journal’s Book Review No. 39.]

Read the full story at LE JOURNAL DE LA PHOTOGRAPHIE

Douglas Kirkland and Somaly Mam, photographed by Price Arana

Team Somaly ~*~

all good things are wild and free

Rather than love, than money, than fame, give me truth.

Be true to your work, your word, and your friend.

You must live in the present, launch yourself on every wave,
find your eternity in each moment. Fools stand on their island of opportunities
and look toward another land. There is no other land; there is no other life but this.

All good things are wild and free.

The language of friendship is not words but meanings.

Do not be too moral. You may cheat yourself out of much life so.
Aim above morality. Be not simply good, be good for something.

What lies behind us and what lies ahead of us are tiny matters
compared to what lives within us.

It’s not what you look at that matters, it’s what you see.

~*~
Photographs by Danny Lyon
Quotes by Henry David Thoreau

Gerhard Steidl :: The Interview

Gerhard Steidl, photograph by Karl Lagerfeld

Gerhard Steidl is one of the world’s premier book publishers. He founded Steidl in 1968 in order to produce art books to the standards that he held in his mind and manifested with his hands. Unlike most publishers, who parcel out each aspect of the business to specialists in their respective fields, Steidl does everything under one roof. From acquisition, editorial, and design to production, printing, and binding to sales and marketing, every Steidl book access is given his personal touch. It is this touch we see and feel when we pick up a Steidl book. It is a sensory experience for the eyes, the hands, and yes, even the nose.

A book is more than a story. It is a complete world unto itself. It is a journey, an adventure, a trip into the mind of the author him or herself. This trip begins with the object of the book, for a book is more than words and images on paper; it is the very paper itself, the ink, the process of production that is at once hidden and revealed with each turn of the page. It is the collected experience of the tiniest details that make the book a thing to behold unto itself. It is this attention that Steidl brings to the art of book publishing that puts him on the same level as the artists he publishes. Robert Frank, Gordon Parks, William Eggleston, David Bailey, Bruce Davidson, Joel Sternfeld, Weegee, Raymond Depardon, Andreas Gursky, Arthur Elgort, Juergen Teller, Guy Bourdin, Ed Ruscha, Jim Dine, Berenice Abbott—and that’s just a few of the authors appearing on the new list for Spring 2013.

Steidl, like the artists he publishes, is driven by love, by passion, and by purpose. Book making is more than a profession; it is a way of life. It is a way of seeing and understanding life in order to share it with the expert and the amateur alike. Books are mystical objects, the mind forever captured on the paper we hold in our hands. Books are more than mere objects; they are repositories of soul. They are a wealth of knowledge, of expressions, of creativity to be revisited throughout our lives. Each time we visit, a deeper understanding occurs: of ideas, of style, of ourselves, and the word in which we live. The art of the book resides in the space where author and publisher meet, in the story they decide to tell and the way in which the story is presented to the world. The books of Steidl are stories put on paper, memories not yet our own until we behold them ourselves.

The beauty of the book is that it has not changed its form. It remains as Gutenberg designed it, leaves bound between covers, handy enough to be held in our arms. A book comes alive when it is opened, and it is here that the magic and mystery begin, as we turn the page and discover a new world held together by concept, content, and the quality of production itself. We are fortunate to have this opportunity to speak with Gerhard Steidl about his life’s work, as a single force who continues to honor the art of book making through his exquisite publishing programme.

Read the Interview at
aRUDE

Gerhard Steidl, photograph by Karl Lagerfeld

today is your day ~

Ilse Bing. Double Auto Portrait in the Window. France, 1947.

Rosario Leotta

I remember when the Salvation Army had that warehouse in Hell’s Kitchen, way over by the water, and honey over here had the fake Visa cards. He was generous and rather stylish so good times were had by all for two months during the Fall of 19 Ninety Four. That was the season of Salsoul classics on cd, dance your ass off in the apartment before heading on out to Factory. And while once upon a time I had been wearing Timberlands, Levis, and crop tops, after I had seen Nadja Auermann on the cover of Harper’s Bazaar getting her dragon, her drag on, honey child I had never seen such glamour for all my life and I was—

enraptured, enamored, enthralled, entranced—I was en too deep and it was just me diving into a pool of turquoise shimmering aqua du jour only no, it was not, it was stumbling drunk into Barneys back when it was on Eighteenth, a shelter from the darkening skies that came earlier and earlier each day. And I had to, I needed color like nothing ever before I was, yes, I was and I had to have it like give it to me and it was electric pink and neon orange glosses from the Prescriptives counter like my candy store like the best place on earth, and I slid those precious liquids across my lips and slipping and sliding wild, wet and wild colors like my 80s dreams and I was blonde, was I blonde? Mmaybe not. But I was up in stilettos and baubles from Coco Canal and that was back when dudes had there wares spread out on sheets along the streets like Twenty-Third and Sixth, and we’d be walking along when a marvelous belt called me out my name: Girl take me home and I’ll dance along your hips all night and day and night. Whatchu say, baby girl?

I took it home and my closet was most grateful for the times I’d take it out and make it twirl. I think—but I am not sure—I was wearing it that day back in Two Thou, summer was it, and I was in Chicago, yes, I was and there I had been, staying on the campus of that school not knowing a single person or where to get food so I took it to the streets. And it was all big hair, big curls, and a fingerwave around my hairline, and it was me floating along like a butterfly in a grey jersey Margiela skirt that dusted the pavement as I swept along. And a black tank top, really more a muscle shirt, and it had long sleeves that I snapped off and It sat like black canvas, a simple sheath, a satiny shield along my chest and yes there it was my faux Chanel belt belly dancing as I strolled down the street.

Mighta been distinct, obvious, oblivious, I could be. It’s rather yes so I pay it no nevermind and when honey rolled up all on me, I had the strangest feeling things were playing out from a script I had not yet read like the days pages from Another World back when it was on NBC. He was stringy, stringbean, white boy with a British accent, and he had been up, up like Dracula haunting the night, and the eightball was gone and now he, could he bum a smoke, and I said, “Take me to get something to eat.”

And so we proceeded, well he proceeded to lead me and I was pleased, see how helpful men will be, and me he took me to this little boulangerie that had seats in the piazza outside a red brick church with white accents that gave it a birthday cake kinda vibe. And we sat there, him telling me how he had some weed and we should get up after I get done with me day and I’m smiling saying, Suuuure maybe, sounding like I don’t know just yet, but you know I never had any intention of checking honey ever again.

But why ruin his day? It had just begun, and he sat there smoking my cigarettes, eating nothing, smoking away, and the day would just begin and it would become nothing so much as a vague haze of beige in my memory, lots of white folk, lots of books that were handmade, making the book something of a craft, reminding me of where it all began, right, like I was ten and I—

had decided it was time. I would write this book, a collection of short stories about Mr. Crocodile, who had this B&B, and all the characters that came and went, went and came, and I decided to illustrate it with colored pencils. It was done on looseleaf paper. And the covers were made of cardboard, which I then wrapped in sea blue tissue paper, and I drew the title real big: THE HOTEL IN SOUTHHAMPTON on it, and I bound it with gold pushpins that ate away at the tissue paper.

I had it for awhile, and then like everything else ~ bon voyage. And I sent it to wherever these things go, maybe a portal through another dimension. But it’s always happening, whether I know it or not, and it occurs to me that means there are countless opportunities to jump frequencies, vibe from one dimension and the next, go across time and space and be this vibe, this vibration, this feeling, this energy, this source, this voice whispering in my ear and I smile like oo you know, and you do and thas what makes it worth alla every thing in the end.

The End, it’s true.

From Russia With Love

Molding Of an Artistic Casting at Kasli Iron Works,1910 © LOC, LC-DIG-prokc-20507 By Sergei Mikhailovich from Nostalgia copyright Gestalten 2013

Rostov Veliki (‘Great Rostov’), one of the oldest cities in Russia, along with Suzdal, Uglich, Yaroslavl and Vladimir, part of the ‘Gold Ring’ around Moscow. The Resurrection Church in the Kremlin, 1911. Three-color photograph by Sergei Prokudin-Gorsky, from the album Views along the Upper Volga between Yaroslavl, Vladimir and Kostroma. © Library of Congress, Prints and Photographs Division, Washington DC, Prokundin-Gorkii Collection

Grand Duchess Maria in the garden of the summer residence at Livadia, Crimea, c. 1910. Photograph. © Beinecke Rare Book and Manuscript Library, Yale University, New Haven, CT

Photography records what we forget, offering a map back into the past into lives we would never otherwise know, if not for the camera to record their existence. We are all anonymous, until we are not. We keep records to prevent the inevitable erasure as time slips through our grasp. We are fortunate not only that the photographer was there to record what was, but that historians exist today to dig through the rubble of time and unearth the forgotten.

Nostalgia: The Russian Empire of Czar Nicholas II, Captured in Color Photographs by Sergei Mikhailovich Prokudin-Gorskii (Die Gestalten Verlag) takes us back to the turn of the twentieth century, during the final years before the final days of an empire that spanned several centuries. Prokudin-Gorskii was a pioneer of photography in Russia, and a pioneer in color photography itself. As Dr. Stelle Blasche writes in the book’s introduction, “Very little has been written about his life history. Like so many of the artists and architects of pre-revolutionary Russia, he has been forgotten, leaving a blank space in photography that remains to this day.”

With the publication of Nostalgia, we are treated to a long-overdue retrospective of the artist’s work, a story of so many lives that would be changed forever in a matter of a decade’s time. Prokudin-Gorskii studied chemistry in Russia before traveling to Berlin and Paris to learn about chemistry, photomechanics, and spectral analysis. He returned to Russia in 1901 to study color photography in a country where the medium of photography itself was little known. Driven to compete with the developments in Western Europe and the USA, Prokudin-Gorskii presented his work to the Imperial Technical Society with the aim of garnering financial support for his project. By 1908, he had reached Czar Nicholas II, presenting color projections of photographs that included a portrait of celebrated author Lev Tolstoi.

Read the Full Story at
Le Journal de la Photographie

Library of Congress St. Petersburg. The Castle Bridge across the Neva, and Admiralty Quay, c. 1895. Photochrome. © Library of Congress, Prints and Photographs Division, Washington DC, Photochrom Prints

S. 206; Michail Bukar, Mordwinen, 1872, © Staatliches Historisches Museum, Moskau

Just Chaos! Curated by Roberta Bayley

Marcia Resnick, Johnny Thunders, 1972

Books and photographs. Photographs and books. The historical record reflects the times as they were lived by those who were there. And here we are, some four decades later, reflecting on punk as it first came up on the streets of New York, along the Bowery, at CBGBs, a mélange of artists, performers, and personalities making for great photography, for stories that are shared and collected, for memories rediscovered and truths being told. For those who were there, and those who missed it, Just Chaos! takes us back to a time and a place where you damn sure better do it yourself, cause if you don’t ain’t no one else.

In the windows and intimate niches of BookMarc, New York, now through May 23, Roberta Bayley has installed selections from 13 photographers of the era:, many which have not been seen before this exhibition. Featuring the work of Bayley, Janette Beckman, Stephanie Chernikowski, Lee Black Childers, Danny Fields, Godlis, Julia Gorton, Bobby Grossman, Bob Gruen, Laura Levine, Eileen Polk, Marcia Resnick, Chris Stein, and Joe Stevens, the photographs featured here are curated with an eye towards style, inspired by the energy of the era as it manifested in the world at that time. “It’s all based in poverty,” Bayley reflects. Everything was D.I.Y., do it yourself.

Fashion, music, style, photography—all of it came as an expression of the truth: after the hippie movement sparked, it became mainstream and lost its edge. Punk came out of that void, all claws and fangs and guitar strings, spikes and torn clothes. It was street, strung out and sexy. It was the artist as anti-hero, a Romantic poem at the end of the second millennium AD. It was about the absolutes of individualism, of speaking your own voice and saying F the system.

Read the Full Story at
Le Journal de la Photographie

Janette Beckman, Punks, Worlds End, London 1978

the place where we dwell

Photograph by Jamel Shabazz

I ain’t been here long but I been coming and going all my life. Worked here for a couple of years too, as Dumbo became Monaco, a city-state, a country in this brave new world. Since I been out here, I’ve seen things change. But it’s like the rest of this city: the Imperialists came.

They call it gentrification but it has older, more familiar word. Colonization. Been going on for centuries, and we know how it look. Whitewash. You know how they do. It’s the way of the world. Ain’t no stoppinn this thang they call “progress” and they tell us, they sell us, they make movies and shows and call it “history.” But, I mean, that’s not the only way it’s gotta be…

Thank God for photography. For the artists and the musicians and the writers and the poets who take us back to yesterday. I can’t be that person who complains, who be talkinn bout “back in the days” no how—I mean, I caught quite a bit of it, and whatever I missed, they got photos and stories and books and I—

am grateful to be here, now, today. Yesterday, I was walking along Fulton Mall for the way things used to be. It is what it is. It was what it was. If you caught it, cool. If you missed it, well, there’s always The New York Times…

Music in the Age of Mass Reproduction

Archie Shepp, The Magic of Ju-Ju (Impulse), Robert & Barbara Flynn (Design), William E. Levy (Photo), 1967

Twelve by twelve inches. A cardboard slipcase for a twelve-inch album. Vinyl. The way it all began. When turntables were the way music was orchestrated in the era of mass reproduction. And so it was, and it had been, that the photograph was part of that experience, the sleeve being the perfect place upon which to project, a veritable canvas, a movie screen, a silent and simple place for a single image upon which to consider the songs recorded on A and B sides. And once upon a time, not so long ago, the music pressed was a thing to behold unto itself, perhaps the height of the era being the jazz albums that had been produced.

Jazz Covers I and II by Joaquim Paulo with editor Julius Wiedemann (Taschen) Is an impressive compendium, taking us back to the way it was, when you could gaze upon the photograph, the way in which the artist designed to complement the energy of the album, each cover design being a distinct in the way it sets the tone through the visual iconography of the creative director, who integrated the image into a larger frame, using line, text, and form to produce a visual rhythm all its own.

Read the Full Review at
Le Journal de la Photographie

Donald Byrd, A New Perspective (Blue Note), Reid Miles (Design & Photo)

Rokafella :: Full Circle-isms

Let’s bring it back to the BX. That’s where it began, and where it is today. I don’t know any other way to say it but the Bronx is never bothered, especially in this city. Stay doing it’s thing, never following nobody. So yea, here we are, 40 YEARS after Zulu Nation began, and I once again have the great pleasure of speaking with my sister, Rokafella, on the art and soul of the world from which we come, as we spin round once more, Full Circle style.

On May 17 at 8pm, Full Circle Productions will host a complete evening of dance, theater, poetry, and music as performed by past and present core members at BAAD! Bronx Academy of Arts and Dance in Hunts Point. Having been to several shows over the years, believe you me, when Rok posts up in Facebook today: “I will be rocking with LIVE musicians.. so you can best believe you will get up and dance with us!!!!!!! Bring a towel–for your forehead lol..”

Girl! Now I got C+C Music Factory running through mahh head.

I have the great pleasure of speaking with Rokafella about her life and her work, and undoubtedly I’ll be in the house May 17. Gonn make me sweat. No doubt bout that ..

Miss Rosen: Talk to me about what it means to rep the Bronx round the world, then come on home to perform in Hunts Point for the people. #patriotism

Rokafella: It always feels like its harder to please my hometown when I perform. Most of the shows I do in NYC are live and so most people rather go see a movie or stay home to watch TV, so you see the challenge of getting the community to go out of their comfort zone is a tough one.

Yet once they are in the theater or club they usually are very excited and impressed with my latest performance so I know I can touch hearts. The Bronx is still very rough and yet happy to be left to do its own thing. It doesn’t bother us that our apartments are not listed in any online apartment search sites or that people are not really trying to move in either since we mostly have family filled neighborhoods anyway. We have our own cycles of exodus and influx. But I will admit some of the new buildings and Walgreens look nice—oh and all the bank/ATM’s are good too cuz they save us the trip to Manhattan.

The South Bronx has redeemed itself from the indignity of being subject to “benign neglect” as the government let it burn to the ground. And yet in 2013, it is the poorest congressional district in entire the United States. It stands in stark contrast to Manhattan, which ain’t nothing like the city we from. Please talk about what you think it is that gives the Bronx its resilience and power.

As I said whatever the ethnic dominance of a neighborhood, they always bringing in the cousins, aunts or grandparents to the hood so there are always new people related to the ones already here that have grown used to how it works here so we replenish the vacancies rather quickly.

Unfortunately that also usually means they bring their hometown social norms and philosophies here so that is why there is a delay in getting with the modern-ness of NYC’s other boroughs. But its ok cuz who really wants to switch up completely?

It is good to be reminded of how it is in our countries so we don’t get deluded into thinking we are so high and mighty. it sometimes feels like we all acknowledge that we are all frustrated and going thru hard times so why hurt each other more. Only desperate people under the influence of drugs whether doing or selling damage each other… everyone else is just trying to get thru another day.

Like the land it was born, Hip Hop has transformed. And yet, there is no way to shake the foundation, which is what keeps me hooked. “I do realize Hip Hop is now a form of showbiz but this is something with which you have to be true.” That just came on as I was typing this question and honey is talking about 1992. So there it is. We four decades in. Please talk about what it is to keep close to the roots, and how this feeds you as an artist.

Breakdance will always be a very complicated dance genre. We stay on the floor and yet rise to meet people’s expectation of impressiveness. We do not learn it in a studio yet are always asked to teach in dance academies and universities that we could never afford to attend ourselves.

We were that original movement that gripped every young person alive in the 80s yet everyone except Europe and Asia dropped it so fast once the media said it wasn’t cool. Breakers still can travel the world to places where they don’t speak the language yet receive brotherly/sisterly treatment.

There has not been any dance created after the 80s that rivaled that powerful fusion of African and Latin American evolution that promoted non violence yet encouraged competitive aggression. Breakdance easily lends itself to show business yet finds it hard to sell its soul since how can you sell something that takes a lifetime to excel at and that requires true knowledge of its history.

People still think it is about the 80s yet Breaking is big worldwide! You are in control of how your style will stand out, yet you have to comply to the fundamentals in the very beginning of your study. I do many styles of dance yet this one I have particular love for since it helped me prove myself as a woman that has intelligence, physical and creative strength. Breaking not only jump started the Hip-hop culture movement but it resurrected it in the mid-late 90s to remember the elements and stay true.

The underground could not exist today were it not for how Breaking proved you didn’t need the industry to survive. Society has always had two faces since humans do too.. so there will be schemers and those who earn their keep. Hip-hop is no exception. You have to see which one resonates with you.

I earn my stripes.. Adidas stripes.

Dance. Body Language. Storytelling. Choreography. The Stage. All of these things set me aflame. You live the life and I salute you, mujer, cause this ishh ain’t easy.  

“Someone said to hell with the fight, aight, I’m through. It’s not what our ancestors did for you. So we inherit their strength and go the length.”

Where does you dedication, above all, come from? How does it feed you, teach you, and inspire you to give back to the land where it all began, to this generation and the next. Much love. Much respect.

My parents worked real hard once they got to this country. They faced so much resistance because they found it hard to conform to American culture. They held onto their culture and they hoped I would get farther.

I didn’t, not in a financial way. But through this dance, I have proved that we—conquered/colonized people—are closer to nature and far more joyful with out the weight of material possessions.

Breakers aren’t wealthy yet we inherit the earth. My longtime husband and best friend Kwikstep kept breaking even when nobody cared to see it.. that type of defiance made me want to jump in and hold the torch as well. He reminded me of my parent’s solid footing.  

I feel very successful because after all I have been through, I can still use my talents to move mountains while others live a life believing they are powerless. I am not perfect yet when I dance people don’t see my gap tooth smile or short stature or impossibly curly hair etc etc.. they only see the fruits of hard work and passion. They can feel it.  

I try to share the stage and the spotlight as much as I can with my students and peers. People need to SEE someone making it happen so they can be motivated to create possibilities in their world. That is what inspires me to always take it back cuz there may be someone who is in doubt cuz they don’t see any options. You CAN give up, but you still have to wake up to the next day cuz life goes on and so does the beat. So I just stay creative and trust that the next chapter is going to be great.

Come Rock With Us
FULL CIRCLE-ISMS

beauty is a sign of intelligence

Fantasy love is much better than reality love. Never doing it is very exciting.
The most exciting attractions are between two opposites that never meet.

You have to do stuff that average people don’t understand
because those are the only good things.

People need to be made more aware of the need to work at learning how to live
because life is so quick and sometimes it goes away too quickly.

I never fall apart, because I never fall together.

They always say time changes things,
but you actually have to change them yourself.

Photographs by Jacob Fuglsang Mikkelsen
Quotes by Andy Warhol

~ we known they won’t win ~

There is freedom within, there is freedom without
Try to catch the deluge in a paper cup
There’s a battle ahead, many battles are lost
But you’ll never see the end of the road
While you’re traveling with me

Hey now, hey now, don’t dream it’s over
Hey now, hey now, when the world comes in
They come, they come to build a wall between us
We know they won’t win

Now I’m towing my car, there’s a hole in the roof
My possessions are causing me suspicion but there’s no proof
In the paper today tales of war and of waste
But you turn right over to the T.V. page

Hey now, hey now, don’t dream it’s over
Hey now, hey now, when the world comes in
They come, they come to build a wall between us
We know they won’t win

Now I’m walking again to the beat of a drum
And I’m counting the steps to the door of your heart
Only the shadows ahead barely clearing the roof
Get to know the feeling of liberation and relief

Hey now, hey now, don’t dream it’s over
Hey now, hey now, when the world comes in
They come, they come to build a wall between us
We know they won’t win

Don’t let them win
Hey now, hey now
Hey now
Hey now, hey now
Don’t let them win
Hey now, hey now
Don’t let them win
Hey now, hey now

Photographs by Ricky Flores
Lyrics from Don’t Dream It’s Over by Crowded House

Trolley is the Antidote

Daniele Tamagni, ‘Gentlemen of Bacongo’ poster

A month ago I was asked to write a small piece, a tribute to the great Gigi Giannuzzi on the occasion of the forthcoming publication of TROLLEYOLOGY, a ten year retrospective of one of the greatest illustrated book publishing houses to ever exist. I won’t look back, I won’t re-read what I wrote. I shall begin again, speaking from my heart.

Gigi is dead. Long live Gigi. His spirit is eternal. I knew this, as I know so many things that are without words and yet I am charged to find a way to express the ineffable. Gigi is (not was) a force of Nature, a triumph of the will, a prince among men. He walks the earth with the express purpose of bringing light into the dark.

He does this, as only he can. He produces books, book unlike anything the world has seen before. Books that take on some of the most difficult stories to tell, the beautiful dreams and horrific nightmares that cannot be erased when we close our eyes. We cannot and will not look away. Gigi understands the photograph, the heart of the photographer, the witness who bears evidence, proof, and testimony of the ephemeral made eternal. Gigi makes us look. He makes us understand. We are all complicit in the damnation of the world, and we are all charged with its salvation.

Though Gigi has passed from the mortal plane into the spirit world, he is still here and his legacy carries forth, not only in what he has achieved but in how we carry on. And it is here the opportunity arrives to show heart. TROLLEYOLOGY is on Kickstarter. It doesn’t ask for much, just for each one of us to do our part. And what that is, you may discover when you step into a world, a world that lies right outside your door, when you open your eyes and see it anew.

Please Support

Philip Jones Griffiths, Gigi in Venice whilst making the book Agent Orange, 2003

Brandt Nudes

Nude, London, 1951, February ©The Bill Brandt Archive

The body as landscape, object, sculpture, and form, as costume, architecture, or anything else you could imagine it to become in all of its glory. It is both positive and negative, being and nothingness. It is present and absent, past and future, paradoxes intertwined and connected as one. In a state of simultaneity that is impossible to recognize fully but at the same time it is the thing in which we are forever traveling, consciously and unconsciously.

The body is both object and symbol of the object itself, and the female form most of all assumes the passive role of being that which we act upon, as we exalt its beingness into an abstract meditation on life itself. It is a thing of beauty to behold and perhaps no one does it quite like Bill Brandt whose female nudes have been collected in two volumes twice in his lifetime. The first in Perspective of Nudes (1961) and again in Bill Brandt: Nudes 1945–1980. Now, the oeuvre is brought together in a single volume, Brandt Nudes (Thames & Hudson), which includes a preface by Lawrence Durrell and commentaries by Mark Haworth-Booth. It is here, in Brandt Nudes, that we can consider Brandt’s relationship to the female form throughout the course of his esteemed career.

As Brandt recalls in quoted text from a piece first published in 1933, “It was after the war, when I was busy photographing London celebrities for English and American magazines, that I began to feel irritated by the limitations imposed by such jobs. I was taking portraits of politicians, artists writers, actors, in their own surrounding, but there was never enough time for me to do what I wanted. My sitters were always in a hurry. Their rooms were rarely inspiring backgrounds, and I felt the need for exciting backgrounds to make pictures of the portraits. I wanted more say in the pictures; I wanted rooms of my own choice. And so I came to the nudes. Nudes, at that time, were photographed in studios. I thought of photographing them in real rooms…”

Read the Full Story at
Le Journal de la Photographie

Nude, Baie des Anges, France, 1959, October ©The Bill Brandt Archive

…it comes only from inside…

a new talent discovered
thank you Jayne

XOXO