Marilyn Monroe by Bert Stern, 1962.

(Source: missrnonroe)

1,738 notes

Greta Garbo in Die Freudlose Gasse (1925)

(Source: camillejaval)

330 notes

little-trouble-grrrl:

Bikini Kill live in Washington DC, Rock For Choice, April 4th 1992 by Pat Graham

little-trouble-grrrl:

Bikini Kill live in Washington DC, Rock For Choice, April 4th 1992 by Pat Graham

376 notes

idyllsof:

"The Eternal"
new series of photographs by Michelle Gemma
Mystic, Connecticut, USA
August 2014
www.michellegemmaphotography.com

idyllsof:

"The Eternal"

new series of photographs by Michelle Gemma

Mystic, Connecticut, USA

August 2014

www.michellegemmaphotography.com

3 notes

books0977:

Photograph of Mills College Office (1880s), detail.
"I can’t say that the college-bred woman is the most contented woman. The broader her mind the more she understands the unequal conditions between men and women, the more she chafes under a government that tolerates it." — Susan B. Anthony (1820-1906), U.S. suffragist.

books0977:

Photograph of Mills College Office (1880s), detail.

"I can’t say that the college-bred woman is the most contented woman. The broader her mind the more she understands the unequal conditions between men and women, the more she chafes under a government that tolerates it." — Susan B. Anthony (1820-1906), U.S. suffragist.

217 notes

"Here I am: Dr. Guil-laume-Benjamin-Amand Duchenne, known as Duchenne de Boulogne, medical doctor, scientist, member of the Societe de medecine in Paris, specialist in the field of electrophysiology, and at this moment, conducting precisely the experiment with which I hope to change both the history of medicine and of photography." (1806-1875)
http://www.all-art.org/history658_photography13-4.html

"Here I am: Dr. Guil-laume-Benjamin-Amand Duchenne, known as Duchenne de Boulogne, medical doctor, scientist, member of the Societe de medecine in Paris, specialist in the field of electrophysiology, and at this moment, conducting precisely the experiment with which I hope to change both the history of medicine and of photography." (1806-1875)

http://www.all-art.org/history658_photography13-4.html

“19TH CENTURY INDUSTRIAL EUROPE WAS AMNESIAC– devaluing, erasing and forgetting the past that it did not need. At the same time it was turning History into a bourgeois discipline, in which the past could be selectively recruited to prop up the dominant order of the present. Benjamin sought a revolutionary history, one that he hoped would help to shatter the false continuum of history and emancipate the present. In Atget he saw if not an emblem of that counter-history then a path towards it. Photography was the child of modern progress yet its nature as record condemned it to look backward, to document ‘what is’ but to present it as ‘what was’. In this sense photography could leave behind facts but no interpretation of them. It could acknowledge the existence of particular things but it could not guarantee a particular knowledge of them. Detective work would be needed to rescue the images from picturesque nostalgia and make them meaningful.”
http://davidcampany.com/atget-photographe-de-paris/

19TH CENTURY INDUSTRIAL EUROPE WAS AMNESIAC– devaluing, erasing and forgetting the past that it did not need. At the same time it was turning History into a bourgeois discipline, in which the past could be selectively recruited to prop up the dominant order of the present. Benjamin sought a revolutionary history, one that he hoped would help to shatter the false continuum of history and emancipate the present. In Atget he saw if not an emblem of that counter-history then a path towards it. Photography was the child of modern progress yet its nature as record condemned it to look backward, to document ‘what is’ but to present it as ‘what was’. In this sense photography could leave behind facts but no interpretation of them. It could acknowledge the existence of particular things but it could not guarantee a particular knowledge of them. Detective work would be needed to rescue the images from picturesque nostalgia and make them meaningful.”

http://davidcampany.com/atget-photographe-de-paris/

Eugene Atget “…’those dead-end streets in the outlying neighborhoods, those peripheral districts that his lens recorded, constituted the natural theatre for violent death, for melodrama, and they were so inseparable from such matters that [film diretor] Louis Feuillade… and his disciples –  employed them as settings for their serials.’
The projection of narrative – criminal or otherwise – is a way of taming the anxiety produced by Atget’s unpopulated pictures… Turning them into backdrops for actions they do not show is a way of refusing to accept the unsettling temporality at the heart of so many of these images.”
http://davidcampany.com/atget-photographe-de-paris/

Eugene Atget “…’those dead-end streets in the outlying neighborhoods, those peripheral districts that his lens recorded, constituted the natural theatre for violent death, for melodrama, and they were so inseparable from such matters that [film diretor] Louis Feuillade… and his disciples – employed them as settings for their serials.’

The projection of narrative – criminal or otherwise – is a way of taming the anxiety produced by Atget’s unpopulated pictures… Turning them into backdrops for actions they do not show is a way of refusing to accept the unsettling temporality at the heart of so many of these images.”

http://davidcampany.com/atget-photographe-de-paris/

 ”THE PHANTASMAGORIAS OF THE INTERIOR represent the universe. In the interior the private man brings together the far away and the long ago. His living room is a box in the theater of the world.”

—Walter Benjamin “The Arcades Project” (slight paraphrase)

The Astors’ residence on 5th Avenue and 34th street 1894
 ”THE PHANTASMAGORIAS OF THE INTERIOR represent the universe. In the interior the private man brings together the far away and the long ago. His living room is a box in the theater of the world.
—Walter Benjamin “The Arcades Project” (slight paraphrase)
The Astors’ residence on 5th Avenue and 34th street 1894