Brett Weston Art

In this rich self portrait, Savannah Spirit takes the tradition of black and white female nude photography, and turns the gaze back on itself. In this series, the muse is the artist, and the gaze is her own. Spirit believes that an image of a woman's body should not be viewed through a purely sexual lens. Through her artwork and curation, Spirit takes on technology and social media censors who operate on the assumption that any unclothed body is pornography. Archival pigment print on Hahnemühle Photo Rag. "We are unique beauty, we are strong, we are equal, we are body-positive, we are elegant, we are powerful, we are vulnerable. We are our own muses." Style: This photograph combines a feminist eye and modern feminism with classic vintage pinup...

Savannah Spirit Waiting Silver gelatin on Ilford multigrade paper, signed, edition of 5 Scroll for more on the artist and this series and an excerpt from the recent monograph, The Archive #6: Savannah Spirit, published by Quiet Lunch: "When I first saw Savannah Spirit’s early nudes, I felt immediately struck by their power and awareness. Of course, they were traditionally beautiful, with classical lighting and shadows from Venetian blinds. Some of them were sexy, in the way bodies are sexy. But they weren’t sexualized. Looking at them, I felt powerful. I felt good. They depicted the body of an adult woman viewing herself with love. I’ve been devoted to them ever since. To me, these portraits invoke the power of a landscape. The way the light rolls over the body evokes the body’s connection with the earth, with sunrise and its long deep shadows. The patterns of darkness can break the figure into geometry, creating a distance between the viewer and the image, as in End of An Era and Staying Abreast. Yet others, like Resist and Be The Woman You Needed When You Were Younger, create direct address, and sometimes empathy. Sometimes, the viewer takes the vantage point of the artist, and the piece becomes a further study in introspection. The titles, like The Bottom Line and Read Between the Lines, often invoke idioms, figures of speech, or stereotypes that themselves point back to the culture that produced them. As conceptual components, they are both playful and political, which, when juxtaposed against image to elicit a mood or reaction. For me, it’s different every time. I am often pricked to discover how the vernacular of Hollywood capitalism, juxtaposed to a powerful, nude self-portrait of a woman, almost always feels a bit surprising–as if I wasn’t expecting her to be there. Recent works, like Network, use both shadow and mirror to create a doubled image, the artist and her reflection, further suggesting the sense of a dialogue with the self. The two bodies are not a mirror image, though seen in a mirror: a conversation between two sides of oneself, rather than a literal twinning. Over the past decade, as this series took on greater and deeper life, Savannah and I have had countless wonderful discussions about women, bodies and art. As a former artist’s model, early in her career, she participated in the form of power that was available to her: that of the quieted muse. She knew she was being objectified, she recalls, but at least she was included in the club. I instantly recognized that message. She was still creating her own work, though, and one day, she realized she’d had enough of seeing herself through someone else’s lens. She turned the camera on herself, and began to take a very different kind of picture. During the pandemic, the feeling of being alone with oneself can sometimes feel overwhelming. These recent pieces reflect that agitation of the dialogue alone, the being with oneself, seeking connection..." - Katie Peyton Hofstadter Classic black and white silver gelatin print, signed by the artist Savannah Spirit. This is a self portrait of the artist. Categorize between self-portrait, contemporary feminism, take back control, I am my own muse, my body my choice...

This 1991 fine art print features Catherine Zeta-Jones when she was a TV actress in Britain and aspiring to be a Hollywood Star. Her success in The Darling Buds of May (English comed...

Savannah Spirit The Remedy Silver gelatin on Ilford multigrade paper, signed, edition of 5 Scroll for more on the artist and this series and an excerpt from the recent monograph, The Archive #6: Savannah Spirit, published by Quiet Lunch: "When I first saw Savannah Spirit’s early nudes, I felt immediately struck by their power and awareness. Of course, they were traditionally beautiful, with classical lighting and shadows from Venetian blinds. Some of them were sexy, in the way bodies are sexy. But they weren’t sexualized. Looking at them, I felt powerful. I felt good. They depicted the body of an adult woman viewing herself with love. I’ve been devoted to them ever since. To me, these portraits invoke the power of a landscape. The way the light rolls over the body evokes the body’s connection with the earth, with sunrise and its long deep shadows. The patterns of darkness can break the figure into geometry, creating a distance between the viewer and the image, as in End of An Era and Staying Abreast. Yet others, like Resist and Be The Woman You Needed When You Were Younger, create direct address, and sometimes empathy. Sometimes, the viewer takes the vantage point of the artist, and the piece becomes a further study in introspection. The titles, like The Bottom Line and Read Between the Lines, often invoke idioms, figures of speech, or stereotypes that themselves point back to the culture that produced them. As conceptual components, they are both playful and political, which, when juxtaposed against image to elicit a mood or reaction. For me, it’s different every time. I am often pricked to discover how the vernacular of Hollywood capitalism, juxtaposed to a powerful, nude self-portrait of a woman, almost always feels a bit surprising–as if I wasn’t expecting her to be there. Recent works, like Network, use both shadow and mirror to create a doubled image, the artist and her reflection, further suggesting the sense of a dialogue with the self. The two bodies are not a mirror image, though seen in a mirror: a conversation between two sides of oneself, rather than a literal twinning. Over the past decade, as this series took on greater and deeper life, Savannah and I have had countless wonderful discussions about women, bodies and art. As a former artist’s model, early in her career, she participated in the form of power that was available to her: that of the quieted muse. She knew she was being objectified, she recalls, but at least she was included in the club. I instantly recognized that message. She was still creating her own work, though, and one day, she realized she’d had enough of seeing herself through someone else’s lens. She turned the camera on herself, and began to take a very different kind of picture. During the pandemic, the feeling of being alone with oneself can sometimes feel overwhelming. These recent pieces reflect that agitation of the dialogue alone, the being with oneself, seeking connection..." - Katie Peyton Hofstadter Classic black and white silver gelatin print, signed by the artist Savannah Spirit. This is a self portrait of the artist. Categorize between self-portrait, contemporary feminism, take back control, I am my own muse, my body my choice...

Savannah Spirit Amor de Artuño Silver gelatin on Ilford multigrade paper, signed, edition of 5 Scroll for more on the artist and this series and an excerpt from the recent monograph, The Archive #6: Savannah Spirit, published by Quiet Lunch: "When I first saw Savannah Spirit’s early nudes, I felt immediately struck by their power and awareness. Of course, they were traditionally beautiful, with classical lighting and shadows from Venetian blinds. Some of them were sexy, in the way bodies are sexy. But they weren’t sexualized. Looking at them, I felt powerful. I felt good. They depicted the body of an adult woman viewing herself with love. I’ve been devoted to them ever since. To me, these portraits invoke the power of a landscape. The way the light rolls over the body evokes the body’s connection with the earth, with sunrise and its long deep shadows. The patterns of darkness can break the figure into geometry, creating a distance between the viewer and the image, as in End of An Era and Staying Abreast. Yet others, like Resist and Be The Woman You Needed When You Were Younger, create direct address, and sometimes empathy. Sometimes, the viewer takes the vantage point of the artist, and the piece becomes a further study in introspection. The titles, like The Bottom Line and Read Between the Lines, often invoke idioms, figures of speech, or stereotypes that themselves point back to the culture that produced them. As conceptual components, they are both playful and political, which, when juxtaposed against image to elicit a mood or reaction. For me, it’s different every time. I am often pricked to discover how the vernacular of Hollywood capitalism, juxtaposed to a powerful, nude self-portrait of a woman, almost always feels a bit surprising–as if I wasn’t expecting her to be there. Recent works, like Network, use both shadow and mirror to create a doubled image, the artist and her reflection, further suggesting the sense of a dialogue with the self. The two bodies are not a mirror image, though seen in a mirror: a conversation between two sides of oneself, rather than a literal twinning. Over the past decade, as this series took on greater and deeper life, Savannah and I have had countless wonderful discussions about women, bodies and art. As a former artist’s model, early in her career, she participated in the form of power that was available to her: that of the quieted muse. She knew she was being objectified, she recalls, but at least she was included in the club. I instantly recognized that message. She was still creating her own work, though, and one day, she realized she’d had enough of seeing herself through someone else’s lens. She turned the camera on herself, and began to take a very different kind of picture. During the pandemic, the feeling of being alone with oneself can sometimes feel overwhelming. These recent pieces reflect that agitation of the dialogue alone, the being with oneself, seeking connection..." - Katie Peyton Hofstadter Classic black and white silver gelatin print, signed by the artist Savannah Spirit. This is a self portrait of the artist. Categorize between self-portrait, contemporary feminism, take back control, I am my own muse, my body my choice...

"Moonrise, Hernandez, New Mexico" is a photograph by famed landmark photographer Ansel Adams taken in 1941 and printed c. 1959. The photograph is signed on verso with artist's stamp,...

This fine art print features actress and model Jane March, posed topless on the rooftop of the Hotel Le Bristol in Paris in 1992. This risqué iconic b...

Savannah Spirit My Body, My Choice Silver gelatin on Ilford multigrade paper, signed, edition of 5 Scroll for more on the artist and this series and an excerpt from the recent monog...

11 x 14" vintage silver gelatin photograph of Tony award-winning playwright Terrence McNally photographed nude in Mitchell's studio for 'After Dark' m...

In this rich self portrait, Savannah Spirit takes the tradition of black and white female nude photography, and turns the gaze back on itself. In this series, the muse is the artist,...

In this rich self portrait, Savannah Spirit takes the tradition of black and white female nude photography, and turns the gaze back on itself. In this series, the muse is the artist, and the gaze is her own. Spirit believes that an image of a woman's body should not be viewed through a purely sexual lens. Through her artwork and curation, Spirit takes on technology and social media censors who operate on the assumption that any unclothed body is pornography. Archival pigment print on Hahnemühle Photo Rag. "We are unique beauty, we are strong, we are equal, we are body-positive, we are elegant, we are powerful, we are vulnerable. We are our own muses." Style: This photograph combines a feminist eye and modern feminism with classic vintage pinup...

Printed by Cole Weston from the original negative now housed at the Center for Creative Photography in Tuscon, Arizona, retired. The Weston Gallery is owned by Matthew (grandson of Edward Weston) and his wife Davi Weston and we've been dealing in fine art photography since 1975! Edward Weston (1886 – 1958) was an American photographer, and co-founder of Group f/64. Most of his work was done using an 8 by 10 inch view camera. In 1902, he received his first camera for his sixteenth birthday, a Kodak Bull's-Eye #2, and began taking photographs in parks in Chicago and at his aunt's farm. The young Weston met with quick success, and his photographs were already being exhibited at the Chicago Art Institute merely a year later, in 1903. Weston worked mainly with nudes, still life - his shells and vegetable studies were especially important - and landscape subjects. After a few exhibitions of his works in New York, he went on to found Group f/64 in 1932 with fellow photographers Ansel Adams, Willard van Dyke...