Max Ernst and Dorothea Tanning with cement Capricorne sculpture, Sedona, Arizona, 1948.
(via asymptotic-silence)
David Byrne, Beverly Hills, 1991, Anton Corbijn
The use of photographs of faces as proof of identity dates back to the earliest years of the medium, and the photographic identification badge was a well established practice by the 1880’s. This sampling from the mid-20th century demonstrates the ubiquity of this kind of “useful photograph” while also presenting a series of Disfarmer-like portraits, the very mundanity of which moves us today. The Eastman House Photograph collection derives much of its strength and value from its diversity, and our consequent ability to contextualize any photograph in the shifting areas of art and vernacular.
vsw:
(FC) Two Cabins by JB, James Benning, 2011, A.R.T. Press
from the Visual Studies Workshop Books and Periodicals Archive
Rotary Glass Plates (Precision Optics), 1920, Marcel Duchamp
Anémic Cinéma, 1926, Marcel Duchamp
(turn sound off)
![Amy Couper [1903-1995] in the garden with the cosmos.
Marlborough Provincial Museum and Archives](http://24.media.tumblr.com/1c9b1f5e2dd151073237ed370e999bca/tumblr_mmjjrhLzFC1ro4yjro1_500.jpg)
“Join, or Die” political cartoon attributed to Benjamin Franklin and published in The Pennsylvania Gazette, May 9, 1754.
vsw:
Sibley’s Tested Seeds, Hiram Sibley & Co., Rochester, NY & Chicago, IL
from the Visual Studies Workshop Archive
Karen Finley at her home in Nyack, New York, 1992, Annie Leibovitz
(Source: braidedhate, via wargasmmm)
vsw:
Anonymous snapshot from the Visual Studies Workshop Photographic Print Archive
