Georg Elser, un homme contre la tyrannie

Lire ici l'histoire étonnante de la tentative d'assassinat d'Hitler menée par un seul homme en novembre 1939.

Birkenau, 12 février 2012

Lyonel Feininger

Untitled (Night View of Trees and Streetlamp, Burgkühnauer Allee, Dessau), 1928. Gelatin silver print, 6 15/16 x 9 5/16 in. Credit: gift of T. Lux Feininger, Houghton Library, Harvard University. © Artists Rights Society, New York / VG Bild-Kunst, Bonn.

Hitler declared his paintings degenerate. Of course, Lyonel Feininger was actually one of the 20th century’s most important American avant-garde artists: at various times a Cubist, Expressionist and Secessionist. He’s also well known as one of the Bauhaus’s original faculty, and was even a distinguished newspaper comic strip artist. But a photographer? Really?
Truth is, Feininger didn’t even pick up a camera until 1928, when he was in his late 50s and had fallen under the influence of his sons Andreas and T. Lux and, primarily, of fellow Bauhaus master László Moholy-Nagy. And he considered his photographing to be more of an experimental – and inspirational – means to a painterly end. But a recent exhibition has shed new light on this practically unknown aspect of his already formidable career.
La suite ici

André Kertész

Washington Square, New York, hiver 1954

Chant de gorge inuit

André de Dienes

Marilyn Monroe, 1946

James Baldwin by Mark B. Anstendig

Kalua K Krynska

D'autres photos ici

Richard Avedon

Elise Daniels with the Street Performers.
via Iconic Photos

Charlie Mingus - Scenes in the City

Karlie Kloss

Karlie Kloss in Vogue American

Gustave Marissiaux

Crépuscule, 1908.

Jean-Patrick Razon

Hampatura, Pérou, 1973

Radical Camera : New York's Photo League, 1936-1951

The Wishing Tree, 1937
© Aaron Siskind

In 1936 a group of young, idealistic photographers, most of them Jewish, first-generation Americans, formed an organization in Manhattan called the Photo League. Their solidarity centered on a belief in the expressive power of the documentary photograph and on a progressive alliance in the 1930s of socialist ideas and art. The Radical Camera presents the contested path of the documentary photograph during a tumultuous period that spanned the New Deal reforms of the Depression, World War II, and the Cold War.
Lire la suite dans Lens, le blog du New York Times.
L'exposition The Radical Camera est présentée jusqu'au 25 mars 2012 au Musée Juif de New York (1109 5th Ave at 92nd St. New York NY 10128).

Jamie Beck e Kevin Burg

"There's something magical about a still photograph - a captured moment in time - that can simultaneously exist outside the fraction of a second the shutter capture."

Jamie Beck

 Voir d'autres cinemagraphs ici

Stephen Berkman

"The Exhibition". Voir les autres étonnants ambrotypes de Zohar Studios

Bernard Plossu

Mexique, 1981.

"Un lit défait. Un corps de femme qui tourne le dos, dans l'abdication paisible du sommeil. La courbe douce de ses hanches sous le drap. La courbe lisse de son corps dans le froissement des draps. Le contact de la chair à l'étoffe. Les cheveux noirs profond tâchent la blancheur du lit.
Imprégnée d'elle-même, elle repose. Nue et pourtant couverte, découverte et pourtant inaccessible.
Douceur indicible de l'image, de cette femme hors de portée, hors d'atteinte, de la lumière qui ruisselle. Rien ne vient briser le repos de la femme seule, étrangère au monde dans la quiétude, la torpeur, l'inertie du sommeil. Image enveloppante, qui ne semble pas être une prise de vue, un acte de prédation au monde, juste un regard à peine posé.
Le bruissement, le murmure de la respiration d'une femme endormie."

Caroline Milic Les yeux avides

Edward Steichen

Gary Cooper by Edward Steichen. Printed by George Tice.

Si vous êtes à New York, ne manquez pas les expositions "Edward Steichen: The Last Printing" et "George Tice: Seldom Seen", jusqu'au 29 octobre.
Danziger Gallery
 527 West 23rd Street
 New York, NY 10011

Sally Mann

D'autres images ici

Rodney Smith

"To be a photographer implies a calling, a dedication, an ability to expose oneself in a way very few people have the capacity or courage to do. If one ever becomes a photographer, it is as if one has won the Nobel Prize." Rodney Smith. Lire la suite sur The End Starts Here