A land not mine | Anna Akhmatova


A land not mine, still
forever memorable,
the waters of its ocean
chill and fresh.

Sand on the bottom whiter than chalk,
and the air drunk, like wine,
late sun lays bare
the rosy limbs of the pinetrees.

Sunset in the ethereal waves:
I cannot tell if the day
is ending, or the world, or if
the secret of secrets is inside me again.


Anna Akhmatova, 1964 
Translated by Jane Kenyon



Books are everywhere | André Kertész / Paul Almasy / Andreas Feininger / Giuseppe Grimaldi / Adolfo Kaminsky / Francesc Català-Roca


Paul Almasy, Galerie Vivienne, Paris

Anthony Perkins browsing a bookstall on Fourth Avenue, NYC, 1958
Chicago, 1942                                                                                                          Paul Newman and Joanne Woodward browsing books on the street, 1950s


“Books are everywhere; and always the same sense of adventure fills us. Second-hand books are wild books, homeless books; they have come together in vast flocks of variegated feather, and have a charm which the domesticated volumes of the library lack. Besides, in this random miscellaneous company we may rub against some complete stranger who will, with luck, turn into the best friend we have in the world.”

Virginia Woolf, Street Haunting, 1927

Francesc Català-Roca, Used Books with Cat, 1950                                                         Adolfo Kaminsky, Paris, 1948
 Andreas Feininger, Fourth Avenue book store, 1940s                                                  André Kertész, Fourth Ave, New York, 1959    

                                                                                                               Waring Abbott, Lou Reed at The Strand book store N.Y., 1986              

 Giuseppe Grimaldi Fotoreal, Roma, Italia    

André Kertész, New York City, 1974


Also:

To Enter / Another’s Solitude | Paul Auster, 1982



“Impossible, I realize, to enter another’s solitude. If it is true that we can ever come to know another human being, 
even to a small degree, it is only to the extent that he is willing to make himself known. A man will say: I am cold. 
Or else he will say nothing, and we will see him shivering. Either way, we will know that he is cold. But what of the 
man who says nothing and does not shiver? Where all is intractable, here all is hermetic and evasive, one can do no 
more than observe. But whether one can make sense of what he observes is another matter entirely.”


 Paul Auster, The Invention of Solitude, 1982


Doll makers | 1908 - 1958


A worker painting celluloid dolls heads at a factory in leicester, England, 1935
Row of dolls heads during production, Germany, 1950                                                    Doll factory, 1950's                   
Craftswoman with a platter of doll heads, 1910                             Craftsman paint the faces on dolls in a workshop, New York, 1908
 Worker assembling dolls, 1958
Men assembling dolls, 1920                                                   Germany, pre-1914
Dollmaker, Tokyo, 1950                                             Dollmaker brushing hair on doll heads, 1946
 Doll factory worker, Josephine Gloss assembling dolls, 1947                                                         Painting Dolls Heads 1930s


Posing for Alfred Eisenstaedt | George Bernard Shaw (1932)



“In 1932 I traveled to London hoping to photograph George Bernard Shaw. People told me he was very difficult and inaccessible, but I was also told that he was a vegetarian. So I bought a bunch of bananas and sent these, together with a portfolio of my photographs, to his home at Whitehall Court. Two days later I was asked to visit him. He looked through my photographs and said, “You don’t have to make me pose, I am a photographer myself.” Shaw was very friendly and did everything I wanted. I wish all people were so cooperative. He had a wonderful old Smith Premier typewriter. I remember it like yesterday. I even remember the house number—it was No. 4.”


From Eisenstaedt on Eisenstaedt: A Self-Portrait
Alfred Eisenstaedt, George Bernard Shaw, London, 1932


Portraits, still-lifes and photomontages | Iwao Yamawaki (1930-1933)

 Iwao Yamawaki, Lunch (12-2pm), 1931                                    Iwao Yamawaki, Bauhaus Building, Southern View, Dessau, 1930-32
Iwao Yamawaki, Porches and clock, 1930                                     Iwao Yamawaki, Cafeteria after lunch, Bauhaus, Dessau (1932)
Iwao Yamawaki, Hand With Ring, 1930                              Iwao Yamawaki, Hands playing the piano, 1932
 Iwao Yamawaki, Portrait of a Man Smoking. 1931                        Iwao Yamawaki, Portrait of woman, 1930-32
Iwao Yamawaki, Articulated mannequin and shadow, 1931                                   Iwao Yamawaki, Articulated Mannequin, 1931
Iwao Yamawaki, Tea-glass by Josef Albers, 1933
Iwao Yamawaki, Four walkers from above, 1930-32                                    Iwao Yamawaki, Two heads, 1930-32
Iwao Yamawaki, Attack on the Bauhaus, 1932                                     Iwao Yamawaki, Typewriter, 1930

Iwao Yamawaki, Self-portrait, 1930 - 32 
Iwao Yamawaki, Bather collage, 1933


Iwao Yamawaki is an interesting figure at the intersection of modernism and the history of Japanese photography. He began his career as an architect but became dissatisfied with Japanese practices. For that reason he travelled to Germany in 1930, where he enrolled as a student of the Bauhaus in Dessau. He started studying architecture at the Bauhaus, but soon moved on to the photography section where he produced architecture photography, portraits, still-lifes and photomontages. The photographic methods of Laszlo Moholy-Nagy and Walter Peterhans had a big influence on him. Yamawaki continuously analysed the relationship between photography and the design of spaces, and he often tried to interpret the connection between human beings and architectural space in his pictures.



Also:

Flick Review < Gun Crazy | Joseph H. Lewis (1950)



“Come on, Bart, let’s finish it the way we started it: on the level.”


Deadly Is The Female aka Gun Crazy (1950)
Director: Joseph H. Lewis
Writers: MacKinlay Kantor (screenplay), Dalton Trumbo (screenplay)
Stars: John Dall, Peggy Cummins, Berry Kroeger


“We go together, I don’t know why, maybe like guns and ammunition go together.”


In an interview with Danny Peary (Cult Movies, New York: Delacorte Press, 1981), director Lewis revealed his instructions to actors John Dall (Bart) and Peggy Cummins (Laurie Starr):


I told John, "Your cock's never been so hard," and I told Peggy, "You're a female dog in heat, and you want him. But don't let him have it in a hurry. Keep him waiting." That's exactly how I talked to them and I turned them loose. I didn't have to give them more directions.
Gun Crazy | Joseph H. Lewis (1950)


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