Savannah Spirit

Film Strip, Classic Silver Gelatin Black & White Nude Photography

2022

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. Savannah Spirit Topaz 20” x 26” Silver gelatin print 1/1 "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...

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. Savannah Spirit Topaz 11” x 14” Silver gelatin print 1/1 "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...

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. #Contemporary black and white nude photography by Savannah Spirit 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...

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...

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...

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...

Invacuo Project #18, 2016 by Koray Erkaya From the series of Invacuo Project Hahnemühle Photo Matt Fibre Duo 210 Image size: 16 in. H x 24 in. W (40 cm H x 24 cm W) Edition of 10 Work is also available framed at an additional cost. All sizes signed, titled, dated, and numbered on artist label verso All Prices are quoted as "initial price". Please note that prices and availability may change due to current sales. _____________________ JAZZ AND GAS Joyful humour characteristic of the pro-democracy environmentalist Gezi Park protests in June 2013. People of all ages, students, writers, artists, actors, musicians, LGBT activists, Anti-Capitalist Muslims, Marxists, Anarchists, Kurdish and Turkish nationalists were peacefully together in the heart of modern Istanbul: Taksim Square. Then the police attacked with tear gas and their usual equipment. But if they use uneven brutal force, then we use uneven intelligence and creativity: “We are fair: Their gas is fresh air.” Such sarcastic slogans multiplied echoing the positive, hopeful, unyielding and determined character of the our jazz like plural harmony. If Sultanahmet Square is the heart of Classical Istanbul with its Byzantine and Ottoman heritage, Taksim Square represents the modern city: the central statue representing the national liberation war and the formation of the Turkish Republic, Gezi Park, Ataturk Cultural Centre, big hotels, and the historic Istiklal (Independence) Street. Eyes shed tears not only because we laughed due to high quality satirical slogans but also because of the harmful gas and the deaths of several youngsters. Numerous citizens lost an eye or arm. Thanks to international media coverage, the inspiring Gezi Park resistance (or “June Movement”) in Turkey drew attention all over the world -while the pro-government media kept silent. Whether on purpose or not, tear gas –and its canisters at close range- took several lives. Don’t let anybody fool you: Tear gas may kill. And it did. Though “as a nation” we had been used to gas in previous demonstrations, one point was unique: The whole city was gassed. Babies, old people and citizens with asthma suffered in their homes. Before the police attack, maybe most of the young protesters were “merely” environmentalists without a major political orientation. Tear gas brutality transformed most of them into political activists. Since that June, our lungs, souls and future have been full of that gas. Tear gas has been used not only in Turkey but in many other countries as well –since the 1990s. We tend to think that “Every soul shall taste it,” –sounding like a statement from a holy book. The situation is unacceptable: A child on the way to get bread for breakfast may die –in fact be killed by the police using tear gas without proper concern and care. Tear gas is a chemical weapon. It’s vital to comprehend that. The marketing is well-phrased but misleading: “Made from fruit and vegetables, wholly organic.” But when it is used at close range, its metal canister becomes a bullet. Fifty years ago, in late 1960s, 90 countries signed a petition against the usage of tear gas. Our country signed the 1997 Convention on Chemical Weapons, which states that tear gas is considered to be a chemical weapon when it is used in closed places, at close range or in a crowd. Despite this, it has been used time and again in Brasil, Chile, Egypt, Germany, Gaza, Iraq, Ireland, Israel, Panama, the Philippines, South Korea, UK, USA, and Vietnam. The Association of Turkish Medical Doctors and the Initiative Against Tear Gas have been working and reacting diligently on this issue. “But the label says it’s harmless,” say some. But the firms that produce gas bombs put labels according to the demands of governments. Are you Shocked? Global trade has priority over humanitarian concern. But why this introduction? Don’t we all know all these things? We certainly do, but the “agenda” changes so fast that our knowledge does not find time to unite with our action in order to change the ongoing chain of events. Enter arts. With the mission of contributing to collective memory, Artist Koray Erkaya creatively documents experience. In his new photographic art series, Erkaya revolts against individual and social de-sensitivisation. In order to address the memory and to increase awareness, he uses “gas” against everyone –without discrimination. He tests his models with gas in the specifically prepared labyrinth made of mirrors. But of course, the gas he uses is not one of the types of tear gas labeled OC, CS or CN. In any case, the violence the people suffer is not limited to the content of the gas. When he started his voyage to display the violence, loneliness, nakedness, helplessness, spiritual and physical isolation of women, children, gays, transsexuals -all the humiliated people under some form of gas, Erkaya began working with models from various nations in Istanbul. Now he is on his way to show that this issue is a problem for all who live on the same planet. When we see ourselves in the eyes of the models in the mirrors...

"WH2" Photography 48" x 84" inch Edition 1/6 by Giuliano Bekor From WILD HORSES series Archival exhibition Giclee Baryta print, Coated and mounted on dibond Custom frame Roma, 2...

Mid 20th century black and white photographs of classical sculpture. Set of three. As Mr Codax collected Czech photographers. Unsigned. Matted and framed. Provenance: Estate of Phill...

Harry Callahan. Eleanor, Port Huron, 1954, gelatin silver print, Signed on print recto.

Hand printed photograph by artist. Edition 1/30 Available in other sizes From negative 2.5 x 2.5" Rolleiflex

Hand printed photograph by artist. Taken with 2x2 Rolleiflex on film.