The Night Was So Long, the Day Even Longer

After the Night When I Wake Up, I'll See What Tomorrow Brings

Self-portraits by women photographers in the early 20th century (Part I)

Ilse Bing (1899 - 1998)

Germaine Krull (1897 – 1985)

Marianne Breslauer (1909 – 2001)

Florence Henri (1893 - 1982)

Marianne Brandt (1893 –  1983)

Gisèle Freund (1908 - 2000)

(Source: undefeated-ladies)

Joseph Walton PH. Homage to E. J. Bellocq, 2012 - The Aquarium Gallery  New Orleans

Joseph Walton PH. Homage to E. J. Bellocq, 2012 - The Aquarium Gallery  New Orleans

(via foxesinbreeches)

Sasha Kurmaz
Fan Ho
White Windows, 1962

Fan Ho

White Windows, 1962

(Source: birdsong217, via mickpro)

Valparaíso, Chile, 1952
Sergio larrain/ Magnum photos, from Sergio Larrain: Vagabond Photographer

Valparaíso, Chile, 1952

Sergio larrain/ Magnum photos, from Sergio Larrain: Vagabond Photographer

(Source: mezzaluna.me)

Hamburger Zoo, 1963 (Walter Vogel)

Hamburger Zoo, 1963 (Walter Vogel)

(Source: artnet.com, via mickpro)

The High Priestess on Nowness.com

The High Priestess

Spectral Beauty Guinevere Van Seenus Haunts Erik Madigan Heck’s Austere Vision

On an 18th-century estate in upstate New York, Dutch American model Guinevere Van Seenus is cast as the mythical Pope Joan in Erik Madigan Heck’s monochrome fashion short. “Supposedly, she was the only female Pope in the history of the Catholic church, murdered in the middle ages when she was found out to be woman,” says the photographer, filmmaker and founder of Nomenus Quarterly. “I like the idea of the tragic hero as a ‘she,’ when so much of history is told from the male perspective.” Van Seenus has been a longtime inspiration for Italian-born fashion photographer Paolo Roversi and her commanding beauty has been seen in campaigns for Miu Miu, Kenzo and Jil Sander. Here, she acts as an ethereal ballast to the gravelly narration of a Jan Luyken poem, read in Old Dutch by Heck’s friend Deborah Campert. “Guinevere has an otherworldly beauty that is so rare to find—pictures of her don’t seem to belong to any time period,” says the director, whose photography show The Absorbed Tradition opens next week at New York’s BOSI Contemporary gallery. Influenced by British trip-hop of the 1990s, the percussive score of The High Priestess is an original rework of Arvo Part’s “L’Abbé Agathon”. “I like to borrow from periods,” says Heck, “to recreate things in a new way using fashion as the primary motif.”
 
Erik Madigan Heck’s The Absorbed Tradition opens on June 4 at BOSI Contemporary, New York.

The High Priestess
Guinevere Van Seenus by Erik Madigan Heck

The High Priestess

Guinevere Van Seenus by Erik Madigan Heck

The High Priestess
Guinevere Van Seenus by Erik Madigan Heck

The High Priestess

Guinevere Van Seenus by Erik Madigan Heck

The High Priestess
Guinevere Van Seenus by Erik Madigan Heck

The High Priestess

Guinevere Van Seenus by Erik Madigan Heck

The High Priestess
Guinevere Van Seenus by Erik Madigan Heck

The High Priestess

Guinevere Van Seenus by Erik Madigan Heck

The High Priestess
Guinevere Van Seenus by Erik Madigan Heck

The High Priestess

Guinevere Van Seenus by Erik Madigan Heck

The High Priestess
Guinevere Van Seenus by Erik Madigan Heck

The High Priestess

Guinevere Van Seenus by Erik Madigan Heck

The High Priestess
Guinevere Van Seenus by Erik Madigan Heck

The High Priestess

Guinevere Van Seenus by Erik Madigan Heck

The High Priestess
Guinevere Van Seenus by Erik Madigan Heck

The High Priestess

Guinevere Van Seenus by Erik Madigan Heck