benhästen

I am a photographer. I like lurchers.


horseofbone.com

Aug 27, 2008 10:54pm
Creature
Ambrotype by Stephen Berkman

Creature

Ambrotype by Stephen Berkman

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Aug 27, 2008 10:46pm
Mine Rescuer
(photographer unknown)

Mine Rescuer

(photographer unknown)

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Aug 27, 2008 10:40pm
(photographer unknown) (photographer unknown)
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Aug 27, 2008 9:02pm
nookphotos:

Photographer unknown. c. 1910. A Contortionist.
Source: (2007), The Art of the American Snapshot 1888-1978, Princeton University Press.

nookphotos:

Photographer unknown. c. 1910. A Contortionist.

Source: (2007), The Art of the American Snapshot 1888-1978, Princeton University Press.

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Aug 27, 2008 8:16am
Bob Dylan, during his 1966 tour of England
Photo by Barry Feinstein

Bob Dylan, during his 1966 tour of England

Photo by Barry Feinstein

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Aug 27, 2008 8:03am
Human Skeleton, 1999
Jayne Hinds Bidaut Dryplate tintype photogram Twelve plates, each 11 x 14 inches
“The difference between an insane person and an artist is that an insane person   can’t come back from that other perception, that other reality. An artist   can go to the other side and actually bring back something, bring back proof - I   go there often.  A piece of art to me is an actual souvenir, which says, See - I was in this   special place, and I brought this back, this is the proof… And guess what.   Our conscious and perceived world is not the only reality out there. That is   what I have come to know I do with my work. I didn’t realize this years   ago. But now I do. It seems most people are scared to find the answers to their questions. But   if you have your art, you can deal with these questions and things deep inside   that   you do not even have words for, things you do not recognize in your conscious   state. But you can use your art as your stepping-stone, and stepping-back stone… I’ve   kept a direct dialogue with my subconscious through my art. This tracking of   my past allows me to grow. All my art is actually my little breadcrumb path back   to the way I was before… before the shedding of all my skins.”
via Satya

Jayne is also the director of the Kageno Kids Art and Cultural Exchange.

Human Skeleton, 1999

Jayne Hinds Bidaut

Dryplate tintype photogram
Twelve plates, each 11 x 14 inches

“The difference between an insane person and an artist is that an insane person can’t come back from that other perception, that other reality. An artist can go to the other side and actually bring back something, bring back proof - I go there often.

A piece of art to me is an actual souvenir, which says, See - I was in this special place, and I brought this back, this is the proof… And guess what. Our conscious and perceived world is not the only reality out there. That is what I have come to know I do with my work. I didn’t realize this years ago. But now I do.

It seems most people are scared to find the answers to their questions. But if you have your art, you can deal with these questions and things deep inside that you do not even have words for, things you do not recognize in your conscious state. But you can use your art as your stepping-stone, and stepping-back stone… I’ve kept a direct dialogue with my subconscious through my art. This tracking of my past allows me to grow. All my art is actually my little breadcrumb path back to the way I was before… before the shedding of all my skins.”

via Satya

Jayne is also the director of the Kageno Kids Art and Cultural Exchange.

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Aug 27, 2008 12:30am
Bela Lugosi
(photographer unknown)
“Bela believed in drinking vegetable juices. ‘One night,’ said Bela in an interview, ‘we had a guest.’ When he drank a glass of beet juice, ‘Our guest turned white and fell ill. Questioned, she laughed rather foolishly, said it had fantastically occured to her that I might be drinking a cocktail of blood!’”
The Immortal Count - The Life and Films of Bela Lugosi
by Arthur Lenning (p. 185)

Bela Lugosi

(photographer unknown)

“Bela believed in drinking vegetable juices. ‘One night,’ said Bela in an interview, ‘we had a guest.’ When he drank a glass of beet juice, ‘Our guest turned white and fell ill. Questioned, she laughed rather foolishly, said it had fantastically occured to her that I might be drinking a cocktail of blood!’”

The Immortal Count - The Life and Films of Bela Lugosi

by Arthur Lenning (p. 185)

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Aug 27, 2008 12:11am
Alice Liddell as a young woman 
by Julia Margaret Cameron
“Her (Cameron’s) involvement in photography came about as a result of the kindness of        her eldest daughter. Julia Margaret, by this time was aged forty-nine, her        children had grown up, and her husband was often abroad on business. As        a result she suffered from loneliness, and her daughter, to make her life        more fulfilling, bought her a camera. From this simple beginning a new hobby        began, which was to turn into an obsession.
The comments in her book give        a delightful glimpse of this lady:
‘I longed to arrest all beauty that came before me, and at length          the longing has been satisfied. Its difficulty enhanced the value of the          pursuit. I began with no knowledge of the art. I did not know where to          place my dark box, how to focus my sitter, and my first picture I effaced          to my consternation by rubbing my hand over the filmy side of the glass…
I turned my coal-house into my dark room, and a glazed fowl-house          I had given to my children became my glass house! The hens were liberated,          I hope and believe not eaten. The profit of my boys upon new laid eggs          was stopped, and all hands and hearts sympathised in my new labour, since          the society of hens and chickens was soon changed for that of poets, prophets,          painters and lovely maidens….’ “
Via Robert Leggat

Alice Liddell as a young woman

by Julia Margaret Cameron

“Her (Cameron’s) involvement in photography came about as a result of the kindness of her eldest daughter. Julia Margaret, by this time was aged forty-nine, her children had grown up, and her husband was often abroad on business. As a result she suffered from loneliness, and her daughter, to make her life more fulfilling, bought her a camera. From this simple beginning a new hobby began, which was to turn into an obsession.

The comments in her book give a delightful glimpse of this lady:

‘I longed to arrest all beauty that came before me, and at length the longing has been satisfied. Its difficulty enhanced the value of the pursuit. I began with no knowledge of the art. I did not know where to place my dark box, how to focus my sitter, and my first picture I effaced to my consternation by rubbing my hand over the filmy side of the glass…

I turned my coal-house into my dark room, and a glazed fowl-house I had given to my children became my glass house! The hens were liberated, I hope and believe not eaten. The profit of my boys upon new laid eggs was stopped, and all hands and hearts sympathised in my new labour, since the society of hens and chickens was soon changed for that of poets, prophets, painters and lovely maidens….’ “

Via Robert Leggat

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Aug 26, 2008 10:57pm
nookphotos:

Photographer: unknown. Dayton, Ohio. Halloween. 1913.
Source: (2007), The Art of the American Snapshot 1888-1978, Princeton University Press.

nookphotos:

Photographer: unknown. Dayton, Ohio. Halloween. 1913.

Source: (2007), The Art of the American Snapshot 1888-1978, Princeton University Press.

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Aug 26, 2008 7:17pm
Elementi                di anatomia fisiologica applicata alle belle arti figurative
Turin,                1837-39. Lithograph. National Library of Medicine
Francesco                Bertinatti[anatomist]
Mecco Leone [artist]

Elementi di anatomia fisiologica applicata alle belle arti figurative

Turin, 1837-39. Lithograph. National Library of Medicine

Francesco Bertinatti
[anatomist]

Mecco Leone
[artist]

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Aug 25, 2008 9:02pm
“Courage is very important.
Like a muscle, it is strengthened by use.” - Ruth Gordon

still from Harold and Maude

“Courage is very important.

Like a muscle, it is strengthened by use.” - Ruth Gordon

still from Harold and Maude

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Aug 25, 2008 8:23pm
Still from the fantastic documentary about Henry Marsh -
The English Surgeon


“Shot in an Ukrainian hospital full of desperate patients and makeshift equipment, ‘The English Surgeon’ is an intimate portrait of brain surgeon Henry Marsh as he wrestles with the dilemmas of the doctor patient relationship. ‘It’s like selling your soul to the devil, but what can you do? My son had a brain tumour as a baby and I was desperate for someone to help me. I simply can’t walk away from that need in others.’ With an original soundtrack by Nick Cave and Warren Ellis, ‘The English Surgeon’ openly confronts moral and ethical issues which touch every one of us. And all in a country called Ukraine which is struggling to do the same thing.”

Still from the fantastic documentary about Henry Marsh -

The English Surgeon

“Shot in an Ukrainian hospital full of desperate patients and makeshift equipment, ‘The English Surgeon’ is an intimate portrait of brain surgeon Henry Marsh as he wrestles with the dilemmas of the doctor patient relationship.

‘It’s like selling your soul to the devil, but what can you do? My son had a brain tumour as a baby and I was desperate for someone to help me. I simply can’t walk away from that need in others.’

With an original soundtrack by Nick Cave and Warren Ellis, ‘The English Surgeon’ openly confronts moral and ethical issues which touch every one of us. And all in a country called Ukraine which is struggling to do the same thing.”

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Aug 25, 2008 8:09pm
“Lars Eriksson from Heljesgården and Tussie the dog, the snowy winter of 1951”
(photographer unknown)
Archive image from Västergötlands museum

“Lars Eriksson from Heljesgården and Tussie the dog, the snowy winter of 1951”

(photographer unknown)

Archive image from Västergötlands museum

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Aug 25, 2008 7:19pm
“A boy and a girl sharing a drink, each with their own straw in the bottle”
(photographer unknown)
via Old Pictures

“A boy and a girl sharing a drink, each with their own straw in the bottle”

(photographer unknown)

via Old Pictures

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Aug 25, 2008 6:54pm
Girl in a White Dress, 1971 - photo by Arthur Tress
“Arthur Tress’ first subjects were circus freaks and dilapidated buildings around Coney Island where he grew up. The youngest of three children in a divorced family, Arthur spent time in his early life with both of his parents: his father who re-married and lived in an upper class neighbourhood, and his mother, who remained single after the divorce and whose life was not nearly so luxurious. In high school, he also studied the art of painting.”

Girl in a White Dress, 1971 - photo by Arthur Tress

Arthur Tress’ first subjects were circus freaks and dilapidated buildings around Coney Island where he grew up. The youngest of three children in a divorced family, Arthur spent time in his early life with both of his parents: his father who re-married and lived in an upper class neighbourhood, and his mother, who remained single after the divorce and whose life was not nearly so luxurious. In high school, he also studied the art of painting.”


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