W o m e n L o s t i n T h o u g h t

Women lost in thought by Harry Callahan. Photos were put together in this way by Signe Kassow from Wonderbuzz, a great blog I could only recommend!

F.C. Fundlach | The Photographic Work | Berlin

‘Op Art Silhouette. Jersey coat by Lend’
Paris 1966 in Brigitte, issue 4/1966

‘Op Art Swimsuit. Brigitte Bauer, Op Art swimsuit by Sinz Vouliagmeni’
Greece 1966

‘Rainweather, party sunshiny. Three poplin coats by Staebe-Seger’
Berlin 1955

‘Romy Schneider’
Hamburg 1961 in Film und Frau, issue 11/1962

‘Simone d’Aillencourt. Sheath dress by Horn’
Berlin 1957 in Film und Frau, issue spring/summer 1957

‘Slow. Karin Mossberg’
Nairobi/Kenia 1966 in Brigitte, issue 9/1966

‘The Whole Day on the Beach.’
Gizeh/Egypt 1966 in Brigitte, issue 8/1966

“From November 2009 the Martin-Gropius-Bau presents the definitive retrospective of F.C. Gundlach’s extensive photographic work with the exhibition “F.C. Gundlach – Photographic Work”. F.C Gundlach is one of the most famous fashion photographers worked for the most important magazines and publications from the middle of the 1950’s to 1990. Among other many famous pictures the most comprehensive presentation of F.C. Gundlach’s work shows many fameless facets of F.C. Gundlach’s work to date. After years of research, the curators Klaus Honnef, Hans-Michael Koetzle, Sebastian Lux and Ulrich Rüter present for the first time numerous unknown images as vintage prints alongside F.C. Gundlach’s famous photo icons.

The intention of the exhibition is to present the unique aesthetics of F.C. Gundlach’s photography, his roots in photojournalism, his focus on series and sequences, his narrative approach. Furthermore, the exhibition alludes to social and cultural issues over several decades.

The exhibition includes the experimental photography of his early years, especially those from Paris during the 1950’s, his remarkable portraits of German and international movie stars and film-directors as well as F.C. Gundlach’s early photo reportages and photographs of children.

For the first time, F.C. Gundlach’s work for magazines is presented on a larger scale. Magazine covers and a comprehensive collection of double-page spreads show his photographs within the magazines’ context, especially in ‘Film und Frau’ (1951–1965) and ‘Brigitte’ (1963–1986). Among photographs, title pages and a comprehensive selection of double pages of his pictures will be shown in context of the magazines. The exhibition illustrates that Gundlach has always been open to technical innovations in photography (35mm cameras, flash or color photography).

His fashion productions took him both to Paris and New York and to Egypt and Morocco. This multiple printed photographs were been to special motifs in his work. F.C. Gundlach’s impressive travel reportages occurred amongst others in Argentina, Brazil, Peru, Japan, Cambodia, Thailand, Vietnam and will be present in Berlin the first time. Original documents of his vita illustrate the life of the photographer. Moreover, the show illustrates the internationalization of his work due to extensive traveling. Documents and archival material give a brief outline of the artist’s life and work.

F.C. Gundlach himself has commented his functioning in a 60 min. interview-film, which was exclusively produced for the exhibition by filmmaker Reiner Holzemer. The exhibition presents: a life’s work of photography between documentary representation and staged artificiality, between practical and experimental photography.

F.C. Gundlach, born in 1926 in Heinebach (Hesse), is considered the most significant fashion photographer of the young Federal Republic of Germany. For more than four decades of fashion photography, he wrote fashion history with his work and shaped the perception of fashion in Germany decisively. He set the stage for the ever-changing vogues, defined postures and gestures of models, chose props and locations and thus reflected the ideals of beauty and the history of fashion against a changing social background. F.C. Gundlach worked on assignment for various magazines. His first publications were reportages, theatre- and movie reports. Through his work for the magazine ‘Film und Frau’ he became a fashion photographer. His photographs have been published in many distinguished magazines such as: Deutsche Illustrierte, Stern, Revue, Quick, Elegante Welt, Film und Frau, Annabelle, Brigitte, Twen and Deutsch. For Brigitte alone F.C. Gundlach photographed more than 5500 pages as well as about 180 magazine covers.”

Press release from the Martin-Gropius-Bau website

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3. | Who is going to do laundry in space?

Make me visible!

“Photography is the Art of not pushing the botton.”

Frank Horvat

Jours de France (1959)

Advertising (1958 – 89)

Jardin des Modes (1957-85)

for British Vogue (1959-61)

Queen (1965 – 70)

Various (1959 – 88)

Various (1959 – 88)

for Harper’s Bazaar (1961-67)

for Harper’s Bazaar (1961-67)

for Harper’s Bazaar (1961-67) | My faaaavorite! I adore the shadow!

for Vogue France (1964 – 86)

for Harper’s Bazaar (1961-67)

for Harper’s Bazaar (1961-67)

Frank Horvat was born in 1928 in what was then Italy and is now Croatia. He studied art in Milan and a meeting in 1951 with Henri Cartier-Bresson decided his fate as a photojournalist. He traveled the world in the early 50s and sent his work back to Paris Match, Life and Realities among other magazines. In 1956 he settled in Paris and began to photograph fashion with a reportage style: real life situations, ambient lighting and 35mm cameras.

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Paris 1962… Nonexistent places, nonexistent people

From:

tompalumbo

Who is going to do laundry in space?

The Paper Fashion exhibition took place from March till August ’09 at the MoMu Museum in Antwerp and is the outcome of an investigation on paper clothing, a long-forgotten but very popular phenomenon in the United States at the end of the ’60s .

The fad can be traced back to 1966 when manufacturing company Scott Paper Company used the paper dress to promote their toilet paper and paper tissues. In exchange of $1.25, happy housewives would be mailed a paisley or pop-art ‘Paper Caper’ dress and some coupons to buy napkins and toilet rolls. Demand exceeded the 500,000 garments produced and other manufacturers soon followed with designs to promote their own goods.