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A remarkable woman who lived several distinct lives, Lee Miller's son never knew she was a photographer until rummaging around in their attic after her death, and in addition to modeling, war correspondant, photographer, international artist with other Surrealists, she was quite the spirited and strong woman who dramatically rebelled against the objectification of women. The exhibit SFMOMA, includes video http://www.sfmoma.org/media/features/miller/index.html, one of which recounts that particular story


Another Surrealist, Florence Henri, famously used doppelgängers (mirror images) in her photographic self-portraits, implying a replication of the self, perhaps so the self can be further revealed, portrayed, investigated. There's also the theatrical, shocking element (for the 1930s). Model looks so calm although effectively floating and cut in half, not unlike the beautiful women in magic shows who are seeminly cut in half with their body parts displaced. Although their psychological selves are not on display, we delight in seeing them alive and whole again in the end.

Portrait Composition, 1930

Featured in the permanent collection at the Metropolitan Museum of Art, Lisette Model, influencial photography instructor of Diane Arbus, took then closely cropped images of people on the street, whether in Nice or New York, the images are stark, forthright, sometimes mocking:

Coney Island Bather, Gambler, Albert-Alberta

Folks appearing closer up because of the crop (too bad the images are so small)

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Sometimes our eyes and minds simply need a rest, a moment of respite, especially with the constant blast of negative campaigning, not to mention the implosion of the global economy occuring these days, which is probably why I've recently signed up for a meditation group BBQ.

This image by Uta Barth is restful yet slightly jarring with the red vertical line cutting through it:

"Magnolia Blossom" by Imogen Cunningham reminds me of a late afternoon nap with a warm breeze billowing the drapes covering opened windows:


Similiarly, the silky material on Christo Jeanne-Claude's Pont Neuf billow and create soothing movement transforming stone into something softer (plug for the Christo Jeanne-Claude exhibit going on at the Center for Visual Art in downtown Denver through November)

Some restful, slightly billowy images of my own:

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Although we know Walker Evans for his Great Depression images, he also did a body of work on African masks, which where shown at MOMA in 1935 and again in the Louvre in 2007:

Masque DAN le Cote d'Ivoire, 1935

This weekend I went to a talk sponsored by the Denver Public Library and given by Judy Anderson and Ginny Holye, two book artists in their 60s. These two remarkable women have embedded the joys and sorrows of their lives into their collaborative efforts; Anderson conceives the form and printing of the books while Hoyle writes the poetry element. Anderson taught in Japan and mentioned that the Japanese use masks to reveal and become transparent, while Westerners use masks to obscure.

In marked contrast, Frieda Kahlo had little use for masks and painfully bares her interior life and self for all to see, although we sympathize rather than judge, even admire her for it:

The Broken Column (La columna rota), 1944

Or the mask can be functional, as in Augusta Clawson's welding mask donated to the Smithsonian in 1988. Given an undercover assignment at the Swan Island Shipyard in Portland, Oregon, her mission was to find out why women recruited as welders were quitting as soon as they finished their training, which required another invisible mask of intelligence and secrecy. Her two months' experience as a welder became the basis of her 1944 book Shipyard Diary.

Welding Mask, 1943