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Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
High contrast black and white edit of welder. Edited in Nik Silver Effex 2 and given a light selenium tint.
Last model of the four Retina Reflex cameras. Sold from 1964 to 1967. Had the shutter speed and f-stops showing in the viewfinder via a window on the camera face. Selenium cell meter from the German company, Gossen, was cross-coupled to a very complex system with the shutter and aperture rings around the base of the lens. As you wind the film advance on the bottom of the camera, you can almost hear a myriad of gears and springs being tensioned. Not a kind instrument for repair - very touchy.
A leaf-shutter reflex (LSR), it only accepted a few lenses made especially for it. An expensive camera back in the day.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
Photograph scanned from an original hand-printed, selenium-toned print made with Ilford MG FB Classic paper.
Jane Hammond
"October First (Mom’s Birthday)" 2005
Selenium toned silver gelatin print, 14 x 11 inches
"Little Country Doctor" 2006
Selenium toned silver gelatin print, 11 x 14 inches
www.francisnaumann.com/EXHIBITIONS/VV/index.html
“THE VISIBLE VAGINA”
FRANCIS M. NAUMANN FINE ART
and DAVID NOLAN GALLERY
January 28 – March 20, 2010
Wednesday, January 27, 2010, 6-8 pm at Francis M. Naumann Fine Art
Thursday, January 28, 2010, 6-8 pm at David Nolan Gallery
THE VISIBLE VAGINA is an exhibition jointly organized by Francis M. Naumann and David Nolan. It is scheduled to open at Francis M. Naumann Fine Art (24 West 57th Street) and at David Nolan Gallery (527 West 29th Street) on January 28, 2010. Both shows will run concurrently, ending on March 20, 2010.
As the title of the exhibition suggests, the show is designed to make visible a portion of the female anatomy that is generally considered taboo―too private and intimate for public display. If shown at all, this part of a woman’s body is usually presented in an abject fashion, generally within the context of pornography, intended, in almost all cases, for the exclusive pleasure of men. The goal of this exhibition is to remove these prurient connotations, implicit even in works of art, ever since the pudendum was prudishly covered by a fig leaf. This gesture of false modesty, it should be noted, was devised and enforced entirely by men (not only in the case of classical sculpture, but also in the Bible, in which, immediately after their disobedience in the Garden of Eden, Adam and Eve cover their genitalia with fig leaves). Indeed, until recently, virtually all depictions of the frontal nude female figure were made by men, but as this exhibition will demonstrate, that has changed dramatically in recent years.
The catalogue for THE VISIBLE VAGINA will trace this motif in art history from prehistoric to modern times. It includes an introduction by the exhibition organizers, as well as a highly informative and provocative essay by Anna C. Chave, Professor of Contemporary Art and Theory at the Graduate Center of the City University of New York. Inspiration for both the show and its catalogue came from Eve Ensler’s The Vagina Monologues, a stage play that premiered off-Broadway in 1996, and was followed by various productions throughout the world (it appeared as a book in 1998). Ensler gave voice to countless women worldwide, honoring the complexity and mystery of their sexuality, basically encouraging them to consider their vaginas as powerful and expressive components of their physical selves, something not to be ashamed of, but to be proudly protected as an assertive and positive manifestation of their being. The idea for this show came from realizing that there was no better group to give vision to this goal than artists, many of whom had already incorporated imagery of the vagina in their works. Because of Ensler’s pioneering work in this field, the catalogue is dedicated to her, and proceeds from its sale shall be donated to V-Day, the organization she founded to end violence against women and girls throughout the world.
The following is a list of the artists whose work will be included in the exhibition (as well as a number whose work is only reproduced in the catalogue): Magdalena Abakanowicz, Ghada Amer, Beth B, Judie Bamber, Tracey Baran, Nancy Becker, Hans Bellmer, Mike Bidlo, Louise Bourgeois, Robert Brinker, Judy Chicago, Carol Cole, Maureen Connor, Gustave Courbet, Tee Corinne, John Currin, Sarah Davis, James Dee, Jay Defeo, Jim Dine, Leo Dohman, Marcel Duchamp, Carroll Dunham, Tracy Emin, India Evans, John Evans, Valie Export, Robert Forman, Neil Gall, Kathleen Gilje, Guerrilla Girls, Nancy Grossman, Barbara Hammer, Jane Hammond, Mona Hatoum, Stanley William Hayter, Sandra Vásquez de la Horra, David Humphrey, Paul Joostens, Pamela Joseph, Mel Kendrick, Elisabeth Kley, Jeff Koons, Mark Kostabi, Shigeko Kubota, Zoe Leonard, Sherrie Levine, Lee Lozano, Henri Maccheroni, Chema Madoz, Réné Magritte, Gerard Malanga, Man Ray, Robert Mapplethorpe, Marcel Mariën, André Masson, Sophie Matisse, Ana Mendieta, Allyson Mitchell, Cathy de Monchaux, Vik Muniz, Wangechi Mutu, Gladys Nilsson, Yoko Ono, Pablo Picasso, Chloe Piene, Richard Prince, Daniel Ranalli, Oona Ratcliffe, Niki de Saint-Phalle, Katia Santibanez, Peter Saul, Naomi Savage, Egon Schiele, Carolee Schneemann, Mira Schor, Michelle Segre, Tom Shannon, Cindy Sherman, James Siena, Laurie Simmons, Kiki Smith, Julie Speed, Nancy Spero, Betty Tompkins, Kiyoshi Tsuchiya, John Tweddle, Tabitha Vevers, Douglas Vogel, Robert Watts, Hannah Wilke, Terry Winters, Beatrice Wood.
PANEL DISCUSSION: David Nolan Gallery will host a panel discussion on the exhibition with the featured artists on Saturday, January 30 from 2-4 pm at 527 West 29th Street.
FRANCIS M. NAUMANN FINE ART
24 West 57th Street, Suite 305
New York, NY, 10019
Telephone: 212.582.3201
LHOOQ@FRANCISNAUMANN.COM
Jane Hammond
"October First (Mom’s Birthday)" 2005
Selenium toned silver gelatin print, 14 x 11 inches
Jane Hammond
"Little Country Doctor" 2006
Selenium toned silver gelatin print, 11 x 14 inches
Chema Madoz
"Dreaming of Images" n.d.
Gelatin silver print, 23 5/8 x 19 5/8 inches
Marcel Duchamp
"Female Fig Leaf" 1951
Hand=painted plaster, 3 1/2 x 5 1/2 x 4 7/8 inches
Man Ray
"Female Abstraction" 1941
Pen and ink on paper, 12 x 10 ¾ inches
Man Ray
"The Bicycle" 1950
Watercolor, pen and india ink over pencil on paper
30 1/3 x 40 1/3 cm
Tom Wesselmann
"Study for Helen" 1966
Liquitex on paper, 18 x 25 ½ inches
www.francisnaumann.com/EXHIBITIONS/VV/index.html
“THE VISIBLE VAGINA”
FRANCIS M. NAUMANN FINE ART
and DAVID NOLAN GALLERY
January 28 – March 20, 2010
Wednesday, January 27, 2010, 6-8 pm at Francis M. Naumann Fine Art
Thursday, January 28, 2010, 6-8 pm at David Nolan Gallery
THE VISIBLE VAGINA is an exhibition jointly organized by Francis M. Naumann and David Nolan. It is scheduled to open at Francis M. Naumann Fine Art (24 West 57th Street) and at David Nolan Gallery (527 West 29th Street) on January 28, 2010. Both shows will run concurrently, ending on March 20, 2010.
As the title of the exhibition suggests, the show is designed to make visible a portion of the female anatomy that is generally considered taboo―too private and intimate for public display. If shown at all, this part of a woman’s body is usually presented in an abject fashion, generally within the context of pornography, intended, in almost all cases, for the exclusive pleasure of men. The goal of this exhibition is to remove these prurient connotations, implicit even in works of art, ever since the pudendum was prudishly covered by a fig leaf. This gesture of false modesty, it should be noted, was devised and enforced entirely by men (not only in the case of classical sculpture, but also in the Bible, in which, immediately after their disobedience in the Garden of Eden, Adam and Eve cover their genitalia with fig leaves). Indeed, until recently, virtually all depictions of the frontal nude female figure were made by men, but as this exhibition will demonstrate, that has changed dramatically in recent years.
The catalogue for THE VISIBLE VAGINA will trace this motif in art history from prehistoric to modern times. It includes an introduction by the exhibition organizers, as well as a highly informative and provocative essay by Anna C. Chave, Professor of Contemporary Art and Theory at the Graduate Center of the City University of New York. Inspiration for both the show and its catalogue came from Eve Ensler’s The Vagina Monologues, a stage play that premiered off-Broadway in 1996, and was followed by various productions throughout the world (it appeared as a book in 1998). Ensler gave voice to countless women worldwide, honoring the complexity and mystery of their sexuality, basically encouraging them to consider their vaginas as powerful and expressive components of their physical selves, something not to be ashamed of, but to be proudly protected as an assertive and positive manifestation of their being. The idea for this show came from realizing that there was no better group to give vision to this goal than artists, many of whom had already incorporated imagery of the vagina in their works. Because of Ensler’s pioneering work in this field, the catalogue is dedicated to her, and proceeds from its sale shall be donated to V-Day, the organization she founded to end violence against women and girls throughout the world.
The following is a list of the artists whose work will be included in the exhibition (as well as a number whose work is only reproduced in the catalogue): Magdalena Abakanowicz, Ghada Amer, Beth B, Judie Bamber, Tracey Baran, Nancy Becker, Hans Bellmer, Mike Bidlo, Louise Bourgeois, Robert Brinker, Judy Chicago, Carol Cole, Maureen Connor, Gustave Courbet, Tee Corinne, John Currin, Sarah Davis, James Dee, Jay Defeo, Jim Dine, Leo Dohman, Marcel Duchamp, Carroll Dunham, Tracy Emin, India Evans, John Evans, Valie Export, Robert Forman, Neil Gall, Kathleen Gilje, Guerrilla Girls, Nancy Grossman, Barbara Hammer, Jane Hammond, Mona Hatoum, Stanley William Hayter, Sandra Vásquez de la Horra, David Humphrey, Paul Joostens, Pamela Joseph, Mel Kendrick, Elisabeth Kley, Jeff Koons, Mark Kostabi, Shigeko Kubota, Zoe Leonard, Sherrie Levine, Lee Lozano, Henri Maccheroni, Chema Madoz, Réné Magritte, Gerard Malanga, Man Ray, Robert Mapplethorpe, Marcel Mariën, André Masson, Sophie Matisse, Ana Mendieta, Allyson Mitchell, Cathy de Monchaux, Vik Muniz, Wangechi Mutu, Gladys Nilsson, Yoko Ono, Pablo Picasso, Chloe Piene, Richard Prince, Daniel Ranalli, Oona Ratcliffe, Niki de Saint-Phalle, Katia Santibanez, Peter Saul, Naomi Savage, Egon Schiele, Carolee Schneemann, Mira Schor, Michelle Segre, Tom Shannon, Cindy Sherman, James Siena, Laurie Simmons, Kiki Smith, Julie Speed, Nancy Spero, Betty Tompkins, Kiyoshi Tsuchiya, John Tweddle, Tabitha Vevers, Douglas Vogel, Robert Watts, Hannah Wilke, Terry Winters, Beatrice Wood.
PANEL DISCUSSION: David Nolan Gallery will host a panel discussion on the exhibition with the featured artists on Saturday, January 30 from 2-4 pm at 527 West 29th Street.
FRANCIS M. NAUMANN FINE ART
24 West 57th Street, Suite 305
New York, NY, 10019
Telephone: 212.582.3201
LHOOQ@FRANCISNAUMANN.COM
Jane Hammond
"October First (Mom’s Birthday)" 2005
Selenium toned silver gelatin print, 14 x 11 inches
Jane Hammond
"Little Country Doctor" 2006
Selenium toned silver gelatin print, 11 x 14 inches
Chema Madoz
"Dreaming of Images" n.d.
Gelatin silver print, 23 5/8 x 19 5/8 inches
Marcel Duchamp
"Female Fig Leaf" 1951
Hand=painted plaster, 3 1/2 x 5 1/2 x 4 7/8 inches
Man Ray
"Female Abstraction" 1941
Pen and ink on paper, 12 x 10 ¾ inches
www.francisnaumann.com/EXHIBITIONS/VV/index.html
“THE VISIBLE VAGINA”
FRANCIS M. NAUMANN FINE ART
and DAVID NOLAN GALLERY
January 28 – March 20, 2010
Wednesday, January 27, 2010, 6-8 pm at Francis M. Naumann Fine Art
Thursday, January 28, 2010, 6-8 pm at David Nolan Gallery
THE VISIBLE VAGINA is an exhibition jointly organized by Francis M. Naumann and David Nolan. It is scheduled to open at Francis M. Naumann Fine Art (24 West 57th Street) and at David Nolan Gallery (527 West 29th Street) on January 28, 2010. Both shows will run concurrently, ending on March 20, 2010.
As the title of the exhibition suggests, the show is designed to make visible a portion of the female anatomy that is generally considered taboo―too private and intimate for public display. If shown at all, this part of a woman’s body is usually presented in an abject fashion, generally within the context of pornography, intended, in almost all cases, for the exclusive pleasure of men. The goal of this exhibition is to remove these prurient connotations, implicit even in works of art, ever since the pudendum was prudishly covered by a fig leaf. This gesture of false modesty, it should be noted, was devised and enforced entirely by men (not only in the case of classical sculpture, but also in the Bible, in which, immediately after their disobedience in the Garden of Eden, Adam and Eve cover their genitalia with fig leaves). Indeed, until recently, virtually all depictions of the frontal nude female figure were made by men, but as this exhibition will demonstrate, that has changed dramatically in recent years.
The catalogue for THE VISIBLE VAGINA will trace this motif in art history from prehistoric to modern times. It includes an introduction by the exhibition organizers, as well as a highly informative and provocative essay by Anna C. Chave, Professor of Contemporary Art and Theory at the Graduate Center of the City University of New York. Inspiration for both the show and its catalogue came from Eve Ensler’s The Vagina Monologues, a stage play that premiered off-Broadway in 1996, and was followed by various productions throughout the world (it appeared as a book in 1998). Ensler gave voice to countless women worldwide, honoring the complexity and mystery of their sexuality, basically encouraging them to consider their vaginas as powerful and expressive components of their physical selves, something not to be ashamed of, but to be proudly protected as an assertive and positive manifestation of their being. The idea for this show came from realizing that there was no better group to give vision to this goal than artists, many of whom had already incorporated imagery of the vagina in their works. Because of Ensler’s pioneering work in this field, the catalogue is dedicated to her, and proceeds from its sale shall be donated to V-Day, the organization she founded to end violence against women and girls throughout the world.
The following is a list of the artists whose work will be included in the exhibition (as well as a number whose work is only reproduced in the catalogue): Magdalena Abakanowicz, Ghada Amer, Beth B, Judie Bamber, Tracey Baran, Nancy Becker, Hans Bellmer, Mike Bidlo, Louise Bourgeois, Robert Brinker, Judy Chicago, Carol Cole, Maureen Connor, Gustave Courbet, Tee Corinne, John Currin, Sarah Davis, James Dee, Jay Defeo, Jim Dine, Leo Dohman, Marcel Duchamp, Carroll Dunham, Tracy Emin, India Evans, John Evans, Valie Export, Robert Forman, Neil Gall, Kathleen Gilje, Guerrilla Girls, Nancy Grossman, Barbara Hammer, Jane Hammond, Mona Hatoum, Stanley William Hayter, Sandra Vásquez de la Horra, David Humphrey, Paul Joostens, Pamela Joseph, Mel Kendrick, Elisabeth Kley, Jeff Koons, Mark Kostabi, Shigeko Kubota, Zoe Leonard, Sherrie Levine, Lee Lozano, Henri Maccheroni, Chema Madoz, Réné Magritte, Gerard Malanga, Man Ray, Robert Mapplethorpe, Marcel Mariën, André Masson, Sophie Matisse, Ana Mendieta, Allyson Mitchell, Cathy de Monchaux, Vik Muniz, Wangechi Mutu, Gladys Nilsson, Yoko Ono, Pablo Picasso, Chloe Piene, Richard Prince, Daniel Ranalli, Oona Ratcliffe, Niki de Saint-Phalle, Katia Santibanez, Peter Saul, Naomi Savage, Egon Schiele, Carolee Schneemann, Mira Schor, Michelle Segre, Tom Shannon, Cindy Sherman, James Siena, Laurie Simmons, Kiki Smith, Julie Speed, Nancy Spero, Betty Tompkins, Kiyoshi Tsuchiya, John Tweddle, Tabitha Vevers, Douglas Vogel, Robert Watts, Hannah Wilke, Terry Winters, Beatrice Wood.
PANEL DISCUSSION: David Nolan Gallery will host a panel discussion on the exhibition with the featured artists on Saturday, January 30 from 2-4 pm at 527 West 29th Street.
FRANCIS M. NAUMANN FINE ART
24 West 57th Street, Suite 305
New York, NY, 10019
Telephone: 212.582.3201
LHOOQ@FRANCISNAUMANN.COM
Converted in DxO Filmpack using the Delta preset and then brought into Perfect Effects 10 for a selenium tone.
Black and White edit of this summit morning image, emphasizing the way it felt. Even though the sun was out, there was ice inside and outside the tent and 23F on my little thermometer in the tent.14,500 feet, the highest tent in the lower 48 states that morning.
Another well-built little scale-focusing 35mm camera from Zeiss. The Contina series ran from about 1951 to 1960 with more than a dozen models/variations. This one has a slower f/3.5 Novar lens, but sports a (still working) uncoupled selenium cell light meter.
Bought this one in a thrift store. It was in amazingly clean and functional condition; a sign that it had not been used much or cared for exceptionally well.
Minolta Hi-Matic AF2; color film
Lith printed on Slavich Unibrom grade 4 paper, toned in selenium 1:4 ratio.
World War II monument in Negotino, Macedonia.
One of my all time favourite subjects for last year's 52-Sheet Project was the Dreadnought Era Battleship USS Texas, now a museum ship. So what better way to revisit a project than to work on making prints from the negatives.
Original Negative
Pacemaker Crown Graphic - Schneider-Kruznack Symmar-S 1:5.6/210 - Kodak Tri-X Pan @ ASA-250
PMK Pyro (1+2+100) 10:30 @ 20C
Paper: Ilford MGIV RC Satin
Exposure: 24" - f/11
Developing: Dektol (1+2) 1:00
Tone: Selenium (1+4) 2:30
Holga 120N, SFX (filter 715) eco film developer
Adox Vario Classic in SE6 Blue
tonings from left to right
#1 MT3 - bleach 1+50 20 secs, toner setting A (bright yellow)
#2 followed by MT1 Selenium 1+10 40 secs
#3 MT3+MT1+MT7 Iron Blue (5+5+12+5+600ml) 1 min
Explored
[Re-uploaded after accidental deletion!]
See also: www.flickr.com/photos/monz/2043463420/
My three German friends are (left to right):
1. Zeiss Ikon Super Ikonta 533/16 with 80mm coated Opton T* Tessar lens; classic medium format folding camera; it produces 6x6cm negatives. Note the leather bellows. It was last available new in 1954. Weight 1.4kg. More information at...
www.lumieresenboite.com/collection2.php?l=2&c=Zeiss_I...
2. Leica M6 Wetzlar with 35mm Carl Zeiss Biogon lens. A classic 35mm rangefinder camera which was available new from 1984 to 1998. This one is clothed in a Luigi leather case. More information at...
www.cameraquest.com/mguide.htm
3. Rolleiflex 2.8F Twin Lens Reflex (TLR) with 80mm Xenotar taking lens; produces 6x6cm medium format negatives. It was last available new in 1978 (UK). Weight 1.2kg. More information at..
www.geocities.com/heidoscop/tlrs2.htm
All are manual, mechanical film cameras with only one battery between them (in the M6 to power the light meter)! The light meters in the Super Ikonta and Rolleiflex don't need batteries. Also, no moving mirrors anywhere :-)
[Taken with a Canon 350D with Sigma 18-55mm f2.8 EX lens]
Very sturdy, simple camera. Came with a Prontor SLK Spezial shutter, speeds from 1 to the 1/300 + B. The lens is a coated Pantar 45mm f/2.8. A Selenium cell is coupled to the aperture ring.
This example's shutter fired fine in the store, a couple times at home and then it decided to miss-fire. The shutter goes off while winding. (sigh) Oh, well, it'll look good on the shelf till I can putter with it's repair.
[7/28/14 NOTE: Removed permanently from collection]
view large
Holga 20N, Tri-X in Tanol
Selenium toner - the mode of action with papers like Fotokemika Varycon or Adox Vario Classic - tone cools down with increase of density
Left untoned, developer VGT as a two tray: first dev. A 50 + C 90 + water 800ml 1:45 mins, second dev. B 40 + C 40 + water 1000ml 2 mins
Right toned with MT1 Selenium 1+5 1 min - against my usual practice, just for demonstration a very strong selenium toner
Sangamo Weston light meter, selenium cell. Measures incident as well as reflected light. I used to drive past the factory on the Great Cambridge Road in the early 1970s; don't expect it's there now as this sort of British industry has withered away unfortunately (unlike the State). Still, we have lots of bankers...
(CC BY-SA which means anyone can use any size of this image anywhere provided accompanied by the credit: Images George Rex)