September 18, 2018

Breakthrough Period of Fashion: 40 Glamorous Snapshots Show What Women Wore in the 1950s

The 1950s were a time when fashion exploded into new directions, new colors, and new silhouettes. Cocktail dresses, circle skirts, short shorts, playsuits, or pants and capri... they all made the 1950s is one of the most glamorous eras of women's fashion.

Candid Photographs of Michelle Phillips and Jack Nicholson at the Academy Awards’ Governor's Ball, 1971

The blonde singer from Mamas & Papa Michelle Phillips allegedly dated Jack Nicholson, but reputedly he slept with a hammer under his pillow for fear of her ex. Dennis Hooper.

Michelle and Jack were an item from 1970 to 1972, off and on. Michelle was an actress and singer, like all the other women he had a thing for. Jack really did have a creative type in mind in the women he dated. Michelle was the co-founder of the epic band The Mamas & the Papas in 1965. She was with her husband, John Phillips, whom she started the band with until 1969, after which time she met Jack.

Below are some rare and intimate photographs captured Michelle Phillips and Jack Nicholson during the 43rd Annual Academy Awards’ Governer’s Ball at the Beverly Hilton Hotel in Beverly Hills, California on April 15, 1971.

September 17, 2018

50 Amazing Candid Photographs Capture People on the Streets of New York City in the 1980s

New York in the 1980s was a very different city, from pre-Disney Times Square to graffiti-scarred subways to the vibrant but ungentrified sections of Manhattan to the ruins of the South Bronx to the pre-9/11 World Trade Center.

Photographer Steven Siegel has been capturing the life and times of New York City for the past 30 years. His images are sometimes warmly nostalgic, sometimes deeply disturbing and sometimes simply a revelation of how much New York has changed in just a few decades.

“Photography for me is much more than the act of ‘taking pictures.’ I use photography as a way of literally opening my eyes to the surrounding world... and that particular perspective carries over to even when I'm not photographing...

“The act of photographing forces you to live in the present and concentrate on "the here-and-now"... a very good thing in and of itself... Others achieve this through meditation and religion....Photography is a way of achieving this state of mind... and be creative at the same time... a great "two-fer"!”

22 Black and White Photos That Capture Street Scenes of Zürich in the 1950s

Zürich is the largest city in Switzerland and the capital of the canton of Zürich. It is located in north-central Switzerland at the northwestern tip of Lake Zürich. Zürich is a hub for railways, roads, and air traffic. Both Zürich Airport and railway station are the largest and busiest in the country.

The official language of Zürich is German, but the main spoken language is the local variant of the Alemannic Swiss German dialect, Zürich German.

Many museums and art galleries can be found in the city, including the Swiss National Museum and the Kunsthaus. Schauspielhaus Zürich is one of the most important theatres in the German-speaking world.

Zürich is a leading global city and among the world's largest financial centres despite having a relatively small population. The city is home to a large number of financial institutions and banking companies. Most of Switzerland's research and development centres are concentrated in Zürich and the low tax rates attract overseas companies to set up their headquarters there.

Here below is a small photo set from bad_boxer that shows how Zürich was like in the 1950s.

The new main entrance (without doors, with 'air curtain') from the department store Oscar Weber in Zürich on the Bahnhofstrasse, 1952

Grieder on the Bahnhofstrasse, Zürich, 1952

Jelmoli department store, Zürich, 1952

The fashion house Robert Ober in Zürich at the Gessnerallee and Sihlbrücke, 1953

The fashion house Robert Ober in Zürich at the Gessnerallee and Sihlbrücke, 1953

"Long Term Parking" by Arman – Accumulation of 60 Automobiles in Concrete, 1982

This is a sculpture called “Long Term Parking” and it is located at the Château de Montcel in Jouy-en-Josas, France. This 60 feet (18-meter) high sculpture consists of sixty mostly French cars set in 40,000 pounds (18,000 kg) of concrete. It was created in 1982 by a French-born American artist named Armand Pierre Fernandez (1928–2005), or simply Armand.

Born in Nice, France in 1928, Armand Pierre Fernandez showed a precocious talent for painting and drawing as a child. Inspired by Vincent van Gogh, he signed his early work with his first name only; he retained a printer’s 1958 misspelling of his name for the rest of his career.

Inspired by collages of Kurt Schwitters, Arman’s first solo show, in Paris in 1954, exhibited his “Cachets,” assemblages and accumulations of stamps and fabric. In 1960 he and other artists signed the manifesto of the “New Realism” movement. New Realism aimed for “new, sensitive, perceptive approaches to the real.” Arman began examining the artistic possibilities of everyday objects, giving them an importance never seen before - in effect, transforming garbage or abandoned items into art - yet another, more complex, interpretation of Pop-art.

His style developed gradually, incorporating “colères,” (manmade objects smashed and reassembled, mounted on wood panels); “coupes” (slicing mass produced objects); and “combustions”: objects set ablaze, charred remains exhibited, aiming to represent acts of artistic creation through destruction.

After spending time in New York, inspired by the energy of the city, he made a home there, became a US citizen in 1973, with the official name Armand Pierre Arman.

More, and more ambitious, projects followed, including accumulations of tools, clocks and costume jewellery. Hundreds of pieces welded together into sculpted forms, some in miniature, some huge. The shapes of musical instruments inspired him too, to create accumulations and “coupes” of cellos, violins, and trombones.

Arman was the first contemporary artist to receive commissions from the Renault car company; a collaboration resulting in a series of works using car parts which Arman exhibited at the 1970 World’s Fair in Osaka, Japan.

Arman created some monumental public sculptures. His “Long-Term Parking,” (1982) in a Parisian suburb, for instance: a 60-ft-high column of concrete encasing dozens of cars. Also, his “Hope for Peace”, commissioned in 1995 by the then Lebanese Prime Minister. It stands alongside the Lebanese Army Headquarters in Beirut and towers even higher than “Long-Term Parking”. “Hope For Peace” encases armored vehicles and tanks, whose barrels poke out through the concrete, pointing upward.

Later, Arman returned to painting. In 1991 he created a series of “robot-portraits” of classical composers, large-scale works evoking their subjects via assemblages of sheet music and instruments.

After Arman’s death in New York in 2005, part of his ashes were buried at the Père Lachaise cemetery in Paris in 2008.

September 16, 2018

Working Girls of the 1890s: Earliest Known Photos of Life in an American Brothel During the Late 19th Century

Hundreds of photos capture prostitutes in various phases of undress as well as going about their day-to-day lives: reading, bathing and preening for customers in the 1890s. Taken two decades before the famous E. J. Bellocq photographs of the 1913 sex workers in Storyville, New Orleans, these beautifully produced photographs are the earliest known body of work on this subject in the United States, only now seeing the light of day.

Author and art curator Robert Flynn Johnson found the photos at a vintage paper fair in California about a decade ago and began tracking their origin. Through research and clues, Johnson figured out that the anonymous photographs depicted women who worked at an upmarket brothel run by single mother Sal Shearer in Reading, Pennsylvania around 1892 – at a time when the city was teeming with young, unmarried male railroad and factory workers and other laborers.

“They were clearly prostitutes, and clearly taken by a professional photographer,” Johnson says. “They were not pornographic, and they were not the winky French-postcard-type sensibility. They were Degas-like, beautifully posed. They were erotic and sensual without being in any way sleazy.”

With the help of local historian George M. Meiser IX, he identified the man behind the lens as 19th century commercial photographer William Goldman. Goldman took these secret photos at his studio and at the brothel, where he was a customer and the girls were friendly with him; the discovery of his albums would have caused a scandal in the local community.


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