Label: dglr - 0001 • Format: Cassette Album, Limited Edition • Country: Canada • Genre: Jazz, Rock, Non-Music • Style: Noise
Born into a family of literati, Lucy Schwob was known as a writer, an actress in small vanguard theater productions, and an outspoken member of the lesbian community of Paris between the two world wars. She and her Untitled - Objects - Objects , Suzanne Malherbe, became partners in life, love, and art, and took the ambiguously gendered pseudonyms Claude Cahun and Marcel Moore for their collaborative theatrical and photographic works.
This remarkable text essentially advocates radical personal freedom, dwelling on the themes of narcissism, dandyism, theatricality, identity, and otherness—which are also the themes of the photographs. The photocollages in the book were the more public side of their photographic work. As disconcerting as the book, and as welcome in their cheeky castigation of normalcy, are the photographs that form the larger part of their oeuvre; they predominantly depict Cahun, and sometimes Moore, in a variety of masculine, androgynous, and feminine personas in minimally staged tableaux in their home.
Although it could have been made in the neighborhood lab that Cahun and Moore frequented, this print was more likely produced in their home darkroom. Before vertical enlargers became common darkroom equipment, cameras could be turned Untitled - Objects - Objects enlargers through lateral projection, by securing a negative to the front of the lens and then focusing light through the open back of the camera and through the lens and negative, like a spotlight, to project an image onto unexposed photographic paper.
The artists selected and exposed the area of the negative they wanted by changing the distance from the camera to the paper and using the size of paper necessary to contain the enlarged image area. In the case of this untitled photograph, a sheet was torn in half; the paper, among the thinnest of any print in the Walther Collection, would have been easy to tear, even in a darkened room.
The only Untitled - Objects - Objects to the Enlargement technique Luka (Morten Hampenberg Remix) - Various - Remix March 2017 the softness of the details and the crisp white circles at the corners of the print, where the exposure was blocked by the thumbtacks that pinned the paper to the easel.
Under magnification, the The Better Man - Kemerov - Slay Your Son of the telltale white semicircles are clearly visible.
As a group these works are a most remarkable demonstration of the confessional capacities of the small camera and a major, early masterpiece of the uniquely private theater of the self that photography makes possible. The following elements have been positively identified Derecho A Vivir - Opa Hostil / Grito De Odio - Split CD the work, through XRF readings taken from its recto and verso or from the mount, where the verso was not accessible :.
The graphs below show XRF spectra for three areas on the print: two of the recto—from areas of maximum and minimum image density Dmax and Dmin —and one of the verso or mount. The background spectrum represents the contribution of the XRF instrument itself. The first graph shows elements identified through the presence of their characteristic peaks in the lower energy range 0 to 8 keV.
The second graph shows elements identified through the presence of their characteristic peaks in the higher energy range 8 to 40 keV. View of the recto of the artwork made using reflectance transformation imaging RTI software, which exaggerates subtle surface details and renders the features of the artwork plainly visible. Department of Conservation, MoMA. Raking-light close-up image, as shot. Area of detail is 6. Raking-light close-up image, processed. Processing included removal of color, equalization of the histogram, and sharpening, all designed to enhance visual comparison.
This work was determined to be a gelatin silver print via X-ray fluorescence XRF spectrometry. Claude Cahun Lucy Schwob. Marcel Untitled - Objects - Objects Suzanne Malherbe.
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