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Oranzo Pavane and Giovagneli - Vintage Photo - 1977

1977

Fausto Leali is a vintage black and white photograph realized in the 1980s, it is from a series of vintage photographs of the music, cinema, and art of Italy with celebrities of the ...

Pino Zac - Vintage Photograph is an original black and white photograph realized by an anonymous artist in the 1970s. Good conditions.

Hatay is a visual artist, a healer and a former Rock and Roll photojournalist. Born in Scotland of a Hungarian physicist/inventor and an English art dealer, she grew up in an international environment. Her father encouraged original thinking and experimentation; her mother nourished her creativity and her intuitive skills. Leaving her home in Schaffhausen, Switzerland, for Munich, Germany, she apprenticed to Bauhaus photographer Frl. Berthe Himmler. The next step was New York City where Hatay began to freelance in all aspects of photography. It was when she photographed Jimi Hendrix at Madison Square Garden on May 18, 1969 and was inspired by his music that she got a chance to spread her wings artistically. She was initially inspired by his energy, his vision and his originality. "Jimi Hendrix was absolutely amazing - it is not possible to put words to the Experience. He was, and still is, unique. I didn't know at the time I photographed him that he was interested in his music being a healing power. I learned a lot about this aspect of Hendrix about ten years later when I met people who knew him. When they heard how much I was interested in the healing aspects of his music, they shared their stories with me. I used some of this information in my two books, Jimi Hendrix, The Spirit Lives On and Jimi Hendrix, Reflections and Visions". Nona's experimental techniques were used in her photographs on many other Rock stars, such as Tina Turner, James Brown, and Frank Zappa. She had a major exhibit of her work in Paris. ORIGINAL PHOTO ART one of a kind - experimental & hand painted...

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. 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...