IL VORTICE DELLA VITA (Le tourbillon de la vie)

Milton Greene Tanny Il Clercq, Ballerina, Moglie di Balanchine

Natacha Atlas 2000 Sleeping Youssef Nabil

Lisette Model - Pearl Primus, New York, 1943

Barbara Morgan Martha Graham, Calcio, 1940

Dennis Mecham

Imogen Cunningham - The Dancer Hanya Holm, 1936

Darci Kistler Costas, New York City Ballet 1980

Rainer Klostermeier testa

Rainer Klostermeier

Josephine Baker

Marc Dubord - cigni di schiena nuda

Albert Watson Pechino 1979

Romualdas Rakauskas

Erwin Blumenfeld - La Torre Eiffel, Parigi, 1938

Senza titolo, Diane Arbus (1970-1971)

Ellen Auerbach, Il ballerino Renate Schottelius, New York, 1947 c

Giorgio Ganzerli

Elmo Tide

Anton Bruehl

Danza studente Ung gennaio 1978

Frank Horvat, Per bazar del Harper, 1967

Maria Blaisse cerchi neri

Giorgia Fiorio Sema Ceremony, dervisci, Mevlevi. Konya, Turchia 2004

Isabel Muñoz

Isabel Muñoz, Nubes Series. 2008

Ilse Bing 'Danseusue-Cancan, Moulin Rouge, Parigi, 1931

JEAN MICHEL Berts TRENO BLU

Fonte

AUGURI  di un 2013 FELICE

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LE PALLINE BALLERINE | FABIAN OEFNER

Far danzare i colori

Quando le giornate si accorciano non c'è meglio di un momento di colore per ravvivare la giornata.
Oggi vi proponiamo le danze di Fabian Oefner e delle sue palline.



A far muovorle è l'altoparlante posto orizzontalmente sotto le biglie: a ogni musica, a ogni sound corrisponde un movimento, una danza diversi, prontamente immortalati dal fotografo svizzero.





E mentre vi godete lo spettacolo danzante, vi consigliamo di fare un giro anche qui: sono in corso esplosioni di colore!

Fonte

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AMANDA RIVKIN | PHOTOGRAPHER

Amanda Rivkin, born in 1984, is an American photojournalist based in Baku, Azerbaijan. Rivkin began her career as a print journalism intern at the Associated Press in Madrid in 2007, and later spent time developing several photography projects in Ethiopia and her hometown of Chicago.

An Italian tourist prays inside the only remaining synagogue in Córdoba’s jewish quarter.

Baku, Azerbaijan 2010

Between 2008-2009 she covered the Midwest region of the United States focusing on local politics, the financial crisis and social issues with The New York Times as a primary client. She soon began working on assignment for clients such as Courrier Japan, The Financial Times, Le Monde and Newsweek.

Chi Cultural Center

Energy Baku Tbilisi ceyhan pipeline armenian ruins (Skirting Ancient Ruins)

Energy Baku Tbilisi ceyhan pipeline armenian ruins (Setting the Table for Change)

In 2009 she received a merit-based scholarship to Georgetown University's School of Foreign Service for security studies, and began to focus on photographing abroad. Rivkin received a Young Explorers Grant from the National Geographic Society in 2010 to photograph life along the Baku-Tbilisi-Ceyhan oil pipeline in Azerbaijan, Georgia and Turkey. In 2011 she was awarded a Fulbright fellowship in photography to return to Azerbaijan.

Energy Baku Tbilisi ceyhan pipeline armenian ruins (The Start of the Line)

Energy Baku Tbilisi ceyhan pipeline armenian ruins (The View From a Distance)

Energy Baku Tbilisi ceyhan pipeline armenian ruins (A New World Unveiled)

Fonte

Ethiopia

Ethiopia

All images  © Amanda Rivkin

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ROBERT FRANK | PHOTOGRAPHER

American, born Switzerland, 1924

Robert Frank's fine flatulent black joke on American politics can be read as either farce or anguished protest. It is possible that Frank himself was not sure which he meant. In 1956, he was still a relative newcomer to the United States, and his basic reaction might well have been one of dumb amazement as he investigated the gaudy insanities and strangely touching contradictions of American culture.

Ben James and His Wife, Wales 1953 © Robert Frank

Ben James, Wales 1953 © Robert Frank

A similar shock has been experienced by many others who have been suddenly transplanted as adults to this exotic soil. A few artists and intellectuals have even managed to turn the experience to their creative advantage, if their direction had not yet been too firmly set, as though a new country might be a substitute for being born again. It is tempting to believe that Frank's emergence in the fifties as a photographer of profound originality was a measure of his success in meeting on artistic grounds the very difficult challenge of a radically new culture. It is in any case undeniable that his work underwent a remarkable change during these years.

Caerau, Wales 1953 © Robert Frank

Café, Beaufort, South Carolina © Robert Frank

His earlier, European work had been in comparison almost luxurious: graphically rich, poetically elliptical, tender in spirit, half painterly in surface. By the time of Adlai Stevenson's second campaign these suggestions of homage to known artistic virtues had vanished; Frank's work had become dry, lean, and transparent. He had forged a new style: a weapon that was as clean and functional and American as a double-bitted ax. The subject matter of Frank's pictures was not in itself shocking.

Canal Street– New Orleans-The Americans. (plate 19) © Robert Frank , 1955

Charleston, South Carolina © Robert Frank

Everyone knew about chromium and plastic luncheonettes, and tailfins and jukeboxes and motels and motorcycles and the rest of it. But no one had accepted without condescension these facts as the basis for a coherent iconography for our time. Frank postulated that one might with profit take seriously what the people took seriously. His proposition worked because of the force and penetration of his vision.

Elevator, Miami Beach, 1955 © Robert Frank

Frank sought to compile a spontaneous record of a man seeing this country for the first time. Indianapolis, 1956 is typically short on particulars but laden with symbols. © Robert Frank

The photograph reproduced here is a perfect specimen of what was at the time a new genus of picture. The human situation described is not merely faceless, but mindless. From the fine shiny sousaphone rises a comic strip balloon that pronounces once more the virtue of ritual patriotism.

London 1951-52 © Robert Frank

© Robert Frank – Paris – 1949 /1952

On either side of the tuba-player stand his fellows, as anonymous and as dependable as he. It is somehow proper --- funnier, sadder, and truer --- that the occasion should have been an Adlai Stevenson rally.
from "Looking at Photographs " by John Szarkowski

All images © Robert Frank

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