Behind The Scenes at the National Air and Space Museum: A Blending of Photography and X-Ray:
An x-ray of Alan Shepard’s Apollo 14 spacesuit allows curators and conservators to “see” inside space clothing—a task that had previously been done by peering through the neck or the wrist with a flashlight.See also. (Together.) Photograph: Mark and Roland Cunningham.
Posted March 17, 2012 at 12:42pm in craft beer beer architecture mirror chandelier roman number gilded gold crystal
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![art-history:
Paul Strand Wall Street, New York 1915 Platinum palladium print 10.125 x 12.6875 in. Whitney Museum of American Art, New York
A father figure for American photographers, [Alfred] Stieglitz with his overbearing presence inspired intense reaction. Paul Strand, though initially supported and mentored by Stieglitz (who first showed his work in Gallery 291 in 1916), established a different direction over the course of his long career. For Strand, departing from the inward orientation of his mentor, the aesthetic and the social would remain intimately intertwined. Strand’s Wall Street, 1915 shows his genius for combining an abstracting vision with social commentary. A view of J. P. Morgan’s Guaranty Trust building, Strand’s photograph condensed a feeling, widely held by artists around Stieglitz, that America’s growing and massively scaled corporate culture was incompatible with a humane social order. Years later, in 1951, Strand wrote about Wall Street,“I was fascinated by all these little people walking by these great big sinister, almost threatening shapes….” He was, he explained, “trying to photograph the ‘rushing to work’”; the black shapes reminded him of “a great maw” ready to crush the lilliputian humans who walk by. Wall Street gave material form to the unease inspired by the financial giants who were shaping the early twentieth century.
—Angela L. Miller, et al., American Encounters: Art, History, and Cultural Identity (2008)](http://25.media.tumblr.com/tumblr_m0zrexiLSH1qzzsg4o1_500.jpg)
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Paul Strand
Wall Street, New York 1915
Platinum palladium print 10.125 x 12.6875 in.
Whitney Museum of American Art, New YorkA father figure for American photographers, [Alfred] Stieglitz with his overbearing presence inspired intense reaction. Paul Strand, though initially supported and mentored by Stieglitz (who first showed his work in Gallery 291 in 1916), established a different direction over the course of his long career. For Strand, departing from the inward orientation of his mentor, the aesthetic and the social would remain intimately intertwined. Strand’s Wall Street, 1915 shows his genius for combining an abstracting vision with social commentary. A view of J. P. Morgan’s Guaranty Trust building, Strand’s photograph condensed a feeling, widely held by artists around Stieglitz, that America’s growing and massively scaled corporate culture was incompatible with a humane social order. Years later, in 1951, Strand wrote about Wall Street,“I was fascinated by all these little people walking by these great big sinister, almost threatening shapes….” He was, he explained, “trying to photograph the ‘rushing to work’”; the black shapes reminded him of “a great maw” ready to crush the lilliputian humans who walk by. Wall Street gave material form to the unease inspired by the financial giants who were shaping the early twentieth century.
—Angela L. Miller, et al., American Encounters: Art, History, and Cultural Identity (2008)
View high resolution
György Kepes’ gelatin print, Untitled (Juliet with Peacock Feather and Paint), 1930s, sold for $27,500 at The Arc of Photography sale, 4 October 2011, New York, setting an auction record for the artist.
I firmly believe that peacock feathers harbour bad luck, but this is stunning.
(via yama-bato)
