/tagged/duane+michals/page/2
Joseph Cornell, 1971 -by Duane Michals  [+]


from swanngalleries

Joseph Cornell, 1971 -by Duane Michals  [+]

René Magritte, 1965 -by Duane Michals  [+]


from swanngalleries

René Magritte, 1965 -by Duane Michals  [+]

René Magritte, 1965 -by Duane Michals  [+]
from Bassenge

René Magritte, 1965 -by Duane Michals  [+]

from Bassenge

Balthus and Setsuko, 2000 -by Duane Michals
iamjapanese:

i12bent:

Duane Michals: Balthus & Setsuko, 2000

Balthus and Setsuko, 2000 -by Duane Michals

iamjapanese:

i12bent:

Duane Michals: Balthus & Setsuko, 2000

Marcel Duchamp at home, New York, 1962 -by Duane Michals

As I age, while I still have time, I yearn to know now, more than ever, my true self, that random and illusive thing, decorated with personality. We believe ourselves to be this kaleidoscope of passions and distractions. We are a brilliant and unknown moment, suspended between memory and anticipation, anxious in our uncertainties, and doomed to fade with our consciousness. How can such a mystery be photographed? What is left for us but amazement?— Duane Michals, in ‘I Am Much Nicer Than My Face: and other thoughts about portraiture' - from Los Angeles Times (1989)

from PdP

Marcel Duchamp at home, New York, 1962 -by Duane Michals

As I age, while I still have time, I yearn to know now, more than ever, my true self, that random and illusive thing, decorated with personality. We believe ourselves to be this kaleidoscope of passions and distractions. We are a brilliant and unknown moment, suspended between memory and anticipation, anxious in our uncertainties, and doomed to fade with our consciousness. How can such a mystery be photographed? What is left for us but amazement?
— Duane Michals, in ‘I Am Much Nicer Than My Face: and other thoughts about portraiture' - from Los Angeles Times (1989)

from PdP

Duane Michals, Arles, 1976 -by Christian Vogt   [+]
from lalettre

Duane Michals, Arles, 1976 -by Christian Vogt   [+]

from lalettre

Duane Michals, NYC, 2001 -by Abe Frajndlich  [+]
Abe Frajndlich seen by Duane Michals:

Honest Abe FrajndlichHow the Cleveland Kid photographs icons with his NikonWhat do you do when you see Irving Penn peering back at you through your lens? I’d panic then practice Zen.What to do when Cartier Bresson shouts as you shoot, “Get out of my way, Be Gone!” and hits you on the head? I’d be frantic and play dead.And when you ask Annie to sit in a chair and suddenly your camera is flying midair, because La Leibovitz has thrown a fit, I’d quit in despair.But not Frajndlich. The Cleveland Kid is very brave and has a trick or two up his sleeve. Anyone who can turn a lemon into Jack Lemonade is a foto alchemist. The rumors of Abe’s humor are true. He has the light touch of a jewel thief who can steal your face sans grief. He sees what others only notice, and in a flash ALACAZAM, it’s thank you ma’am.How does he do it?Frajndlich mesmerizes with chit-chatDistracts with catty gossip.Slips them martinis,Then stuffs them with blinis.He shoots away until they say,“Uncle!” Are we through already?Can I go now?The Cleveland Kid is haute couture not prêt-à-porter. Each portrait is not so much a reproduction of the sitter’s face, but rather an expression of the subject vis-a-vis his poetry. Insight is Abe’s secret. Understanding, rather than mere observation, is what defines him as a photographer. To be Frajndlichized is to be immortalized.And that is all I have to say.— Duane Michals

photo and text from lalettre

Duane Michals, NYC, 2001 -by Abe Frajndlich  [+]

Abe Frajndlich seen by Duane Michals:

Honest Abe Frajndlich
How the Cleveland Kid photographs icons with his Nikon

What do you do when you see Irving Penn peering back at you through your lens? I’d panic then practice Zen.
What to do when Cartier Bresson shouts as you shoot, “Get out of my way, Be Gone!” and hits you on the head? I’d be frantic and play dead.
And when you ask Annie to sit in a chair and suddenly your camera is flying midair, because La Leibovitz has thrown a fit, I’d quit in despair.

But not Frajndlich. The Cleveland Kid is very brave and has a trick or two up his sleeve. Anyone who can turn a lemon into Jack Lemonade is a foto alchemist. The rumors of Abe’s humor are true. He has the light touch of a jewel thief who can steal your face sans grief. He sees what others only notice, and in a flash ALACAZAM, it’s thank you ma’am.

How does he do it?

Frajndlich mesmerizes with chit-chat
Distracts with catty gossip.
Slips them martinis,
Then stuffs them with blinis.
He shoots away until they say,
“Uncle!” Are we through already?
Can I go now?

The Cleveland Kid is haute couture not prêt-à-porter. Each portrait is not so much a reproduction of the sitter’s face, but rather an expression of the subject vis-a-vis his poetry. Insight is Abe’s secret. Understanding, rather than mere observation, is what defines him as a photographer. To be Frajndlichized is to be immortalized.

And that is all I have to say.

— Duane Michals

photo and text from lalettre

Dr. Heisenberg’s Magic Mirror of Uncertainty, 1998 by Duane Michals *  [also here & here]
billyjane:

Dr. Heisenberg’s Magic Mirror of Uncertainty, 1998 by Duane Michals * [also here & here]from MutualArt

Dr. Heisenberg’s Magic Mirror of Uncertainty, 1998 by Duane Michals *  [also here & here]

billyjane:

Dr. Heisenberg’s Magic Mirror of Uncertainty, 1998 by Duane Michals * [also here & here]
from MutualArt

Joseph Cornell holding an Untitled Bottle Object, ca 1969 -by Duane Michals
oldhollywood:

“Joseph Cornell holding an Untitled Bottle Object” (photographer: Duane Michals, c. 1969) (via Joseph Cornell: Stargazing in the Cinema)

Joseph Cornell holding an Untitled Bottle Object, ca 1969 -by Duane Michals

oldhollywood:

Joseph Cornell holding an Untitled Bottle Object” (photographer: Duane Michals, c. 1969) (via Joseph Cornell: Stargazing in the Cinema)

(via luzfosca)

Joseph Cornell, 1971 -by Duane Michals  [+]


from swanngalleries

Joseph Cornell, 1971 -by Duane Michals  [+]

René Magritte, 1965 -by Duane Michals  [+]


from swanngalleries

René Magritte, 1965 -by Duane Michals  [+]

René Magritte, 1965 -by Duane Michals  [+]
from Bassenge

René Magritte, 1965 -by Duane Michals  [+]

from Bassenge

Balthus and Setsuko, 2000 -by Duane Michals
iamjapanese:

i12bent:

Duane Michals: Balthus & Setsuko, 2000

Balthus and Setsuko, 2000 -by Duane Michals

iamjapanese:

i12bent:

Duane Michals: Balthus & Setsuko, 2000

Marcel Duchamp at home, New York, 1962 -by Duane Michals

As I age, while I still have time, I yearn to know now, more than ever, my true self, that random and illusive thing, decorated with personality. We believe ourselves to be this kaleidoscope of passions and distractions. We are a brilliant and unknown moment, suspended between memory and anticipation, anxious in our uncertainties, and doomed to fade with our consciousness. How can such a mystery be photographed? What is left for us but amazement?— Duane Michals, in ‘I Am Much Nicer Than My Face: and other thoughts about portraiture' - from Los Angeles Times (1989)

from PdP

Marcel Duchamp at home, New York, 1962 -by Duane Michals

As I age, while I still have time, I yearn to know now, more than ever, my true self, that random and illusive thing, decorated with personality. We believe ourselves to be this kaleidoscope of passions and distractions. We are a brilliant and unknown moment, suspended between memory and anticipation, anxious in our uncertainties, and doomed to fade with our consciousness. How can such a mystery be photographed? What is left for us but amazement?
— Duane Michals, in ‘I Am Much Nicer Than My Face: and other thoughts about portraiture' - from Los Angeles Times (1989)

from PdP

Duane Michals, Arles, 1976 -by Christian Vogt   [+]
from lalettre

Duane Michals, Arles, 1976 -by Christian Vogt   [+]

from lalettre

Duane Michals, NYC, 2001 -by Abe Frajndlich  [+]
Abe Frajndlich seen by Duane Michals:

Honest Abe FrajndlichHow the Cleveland Kid photographs icons with his NikonWhat do you do when you see Irving Penn peering back at you through your lens? I’d panic then practice Zen.What to do when Cartier Bresson shouts as you shoot, “Get out of my way, Be Gone!” and hits you on the head? I’d be frantic and play dead.And when you ask Annie to sit in a chair and suddenly your camera is flying midair, because La Leibovitz has thrown a fit, I’d quit in despair.But not Frajndlich. The Cleveland Kid is very brave and has a trick or two up his sleeve. Anyone who can turn a lemon into Jack Lemonade is a foto alchemist. The rumors of Abe’s humor are true. He has the light touch of a jewel thief who can steal your face sans grief. He sees what others only notice, and in a flash ALACAZAM, it’s thank you ma’am.How does he do it?Frajndlich mesmerizes with chit-chatDistracts with catty gossip.Slips them martinis,Then stuffs them with blinis.He shoots away until they say,“Uncle!” Are we through already?Can I go now?The Cleveland Kid is haute couture not prêt-à-porter. Each portrait is not so much a reproduction of the sitter’s face, but rather an expression of the subject vis-a-vis his poetry. Insight is Abe’s secret. Understanding, rather than mere observation, is what defines him as a photographer. To be Frajndlichized is to be immortalized.And that is all I have to say.— Duane Michals

photo and text from lalettre

Duane Michals, NYC, 2001 -by Abe Frajndlich  [+]

Abe Frajndlich seen by Duane Michals:

Honest Abe Frajndlich
How the Cleveland Kid photographs icons with his Nikon

What do you do when you see Irving Penn peering back at you through your lens? I’d panic then practice Zen.
What to do when Cartier Bresson shouts as you shoot, “Get out of my way, Be Gone!” and hits you on the head? I’d be frantic and play dead.
And when you ask Annie to sit in a chair and suddenly your camera is flying midair, because La Leibovitz has thrown a fit, I’d quit in despair.

But not Frajndlich. The Cleveland Kid is very brave and has a trick or two up his sleeve. Anyone who can turn a lemon into Jack Lemonade is a foto alchemist. The rumors of Abe’s humor are true. He has the light touch of a jewel thief who can steal your face sans grief. He sees what others only notice, and in a flash ALACAZAM, it’s thank you ma’am.

How does he do it?

Frajndlich mesmerizes with chit-chat
Distracts with catty gossip.
Slips them martinis,
Then stuffs them with blinis.
He shoots away until they say,
“Uncle!” Are we through already?
Can I go now?

The Cleveland Kid is haute couture not prêt-à-porter. Each portrait is not so much a reproduction of the sitter’s face, but rather an expression of the subject vis-a-vis his poetry. Insight is Abe’s secret. Understanding, rather than mere observation, is what defines him as a photographer. To be Frajndlichized is to be immortalized.

And that is all I have to say.

— Duane Michals

photo and text from lalettre

Dr. Heisenberg’s Magic Mirror of Uncertainty, 1998 by Duane Michals *  [also here & here]
billyjane:

Dr. Heisenberg’s Magic Mirror of Uncertainty, 1998 by Duane Michals * [also here & here]from MutualArt

Dr. Heisenberg’s Magic Mirror of Uncertainty, 1998 by Duane Michals *  [also here & here]

billyjane:

Dr. Heisenberg’s Magic Mirror of Uncertainty, 1998 by Duane Michals * [also here & here]
from MutualArt

Joseph Cornell holding an Untitled Bottle Object, ca 1969 -by Duane Michals
oldhollywood:

“Joseph Cornell holding an Untitled Bottle Object” (photographer: Duane Michals, c. 1969) (via Joseph Cornell: Stargazing in the Cinema)

Joseph Cornell holding an Untitled Bottle Object, ca 1969 -by Duane Michals

oldhollywood:

Joseph Cornell holding an Untitled Bottle Object” (photographer: Duane Michals, c. 1969) (via Joseph Cornell: Stargazing in the Cinema)

(via luzfosca)

About:

a little of this, a little of that...
Mostly photography, litterature, cinema...

The main point here is Photographic Portrait

You can reach me through the Question? box. Since I don't accept the Anonymous messages anymore, those who are not registered with tumblr. can leave a message to:
sam.chagalov [at] gmail [dot] com

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