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Giulietta Masina - Golden Age of Italian Cinema - 1980s

1980s

Giulietta Masina - Golden Age of Italian Cinema is a vintage black and white photograph realized in the 1960s. Good conditions. Giulietta Masina is ...

Giulietta Masina - Golden Age of Italian Cinema is a vintage black and white photograph realized in the 1970s. Good conditions. Giulietta Masina is ...

Giulietta Masina - Golden Age of Italian Cinema is a vintage black and white photograph realized in the 1970s. Good conditions. Giuliett...

Giulietta Masina - Golden Period of Italian Cinema is a vintage black and white photograph realized in the mid-20th Century. Good conditions. Giulietta Masina is considered one of the best Italian actresses best known for her performances as Gelsomina in La Strada directed by her husband Federico Fellini. Her portrayal of an innocent woman served as the emotional focal point for some of Fellini’s best films. Masina began acting in student theatre productions when she was in her teens. Although she enrolled as a student at the University of Rome in 1938, she continued to devote a good deal of time to acting in university plays and on the radio . In 1939 she made her professional debut in an Italian translation of Thornton Wilder...

Héliogravure on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Diane Arbus, Electa Editrice Portfolios, 1979. Published by Unite...

Roberta Kimmel Cohn (1937-2015) Toned sliver gelatin print, c. 1981 Unsigned (Signed and dedicated on the sketchbook page) see photo Condition: Excellent Image size: 13 1/4 x 10 5/8 ...

HARRY BOWERS T E N P H O T O G R A P H S I DON'T LOOK FOR PHOTOGRAPHS I INVENT THEM I recall my first meeting with Harry Bowers in California a few years ago. As he produced his large-scale prints, I was at first flabbergasted, not only by their size, but by their seamless perfection. Technique appeared to be everything but then technique as technique simply vanished. After the first moment, tech­nique was no longer an issue, but rather a passageway to the imagery. Suffice it to say about Harry Bowers' working style that he is an obsessive man. Trained as an engineer, he has turned that discipline to art. His lenses, equipment and darkroom, much of it exactingly manu­factured by himself to answer certain needs, serve the desire of the artist to take photographic tech­nique to its ultimate perfection in invisibility and transparency. I respect obsession in art, and particularly in photography, because obsession in photography passes beyond the easy, middle ground of image making to a more demanding, more difficult, yet more rewarding end. Bowers' obsession is to eliminate "photography as technique." No grain, no decisive moments, no journalism, or, seemingly, direct auto­biographical endeavors appear in his work. Bowers is an artist of synthesis who controls his environment if only in the studio exactly to his liking. The images he creates are formal structures, saucy stories on occasion, which may offer hints of a darker, more frightening sexuality, but what you see is the end product of an experiment in which nothing save the original insight perhaps is left to chance. We seem fascinated with the idea of replication of reality in art. Popular painting frequently reproduces a scene "with the accuracy of a photograph," and photographs may "make you feel as though you were right there." The very invisibility of the photographic medium is important to Bowers, in that it allows him to maneuver his subject matter without concern for rendering it in an obvious art medium which would interfere with the nature of the materials he uses. The formal subtleties of Bowers' recent work are as delicious and ambiguous in their interrelationships as the best Cubist collages, yet while those col­lages always suggest their parts through edge and texture, these photographs present a structure through a surface purity. "I follow fashion. I have closets literally full of clothes. I am a full-blown Comme des Garçons and Prada freak. I love clothes themselves as objects, and I also love the glossies – my love of fashion is how I discovered Wallpaper magazine" Bowers' earlier works, for example, the Skirts I Have Known series, were formed of bits of clothing belong­ing to Bowers and his wife or found at local thrift shops. These works fused an elegance of pattern and texture, reminiscent of Miriam Shapiro...

Participants at the International Foundation for Gender Education (IFGE) conference 2000 Signed and numbered, verso Selenium-toned gelatin silver print (Edition of 3) 20 x 16 inch...