Tag Archives: 1920s

currently: taking a different look at glasses

i’ve been thinking a lot about glasses these days; glasses as a fashion accessory, as a necessity, as a signifier of intelligence, desireability, gender or class. what do your glasses say about you? as someone who has worn glasses since two thirds of my life, how strange is it to hear people with perfect vision say they “wish” they needed glasses? how differently do i feel about wearing glasses now, as a young professional woman, than i did when i was a young girl? i’ve written about it before, but it shouldn’t surprise me that i have a lot of thoughts and feelings about something i choose to wear every single day.

vision as represented in photography has really been ringing my bell these past few months. i recently rewatched two old favourites of mine this past week, man with a movie camera (1929) and la jetée (1965). thinking about the camera as almost a pair of glasses for the viewer, permitting the audience to see things in a clearer way – or even, to see things they would otherwise never be able to.

i’ve also kind of been completely besotted with surrealist photography, something i knew very little about before this summer thanks in part to a fantastic exhibition on at the musée national des beaux-arts du québec right now. to be honest i’ve never been too smitten with the surrealist movement more generally, but this exhibition has offered a different perspective…  thinking about the possibilities the early days of accessible photography provided, combined with an incredible cocktail of creative uppity artists and feminists makes my heart beat just a bit faster.

a new pair of frames are in the mail, and i’ve got some other thoughts about glasses stores i’m slowly but surely processing. in the meantime, here is some eye-candy: literally.

Women with fire masks, Downshire Hill, London, 1941. Lee Miller

Lee Miller, by Man Ray

Lee Miller, by Man Ray

film still from Dziga Vertov’s Chelovek s kinoapparatom (The Man with a Movie Camera). 1929

Vertov, a Soviet film director, redefined the medium of still and motion-picture photography through the concept of kino-glaz (cine-eye), asserting that the recording proficiency of the camera lens made it superior to the human eye. In a double image in Chelovek s kinoapparatom (Man with a Movie Camera), the eye is superimposed on the camera lens to form an indivisible apparatus fit to view, process, and convey reality, all at once.

Manuel Álvarez Bravo, Parabola optica (Optical Parable), 1931; gelatin silver print; 9 3/4 in. x 7 1/4 in. (24.77 cm x 18.42 cm); Collection of Daniel Greenberg and Susan Steinhauser; © Colette Urbajtel / Asociación Manuel Álvarez Bravo

Manuel Álvarez Bravo, Parabola optica (Optical Parable), 1931

WILLIAM WITT The Eye, Lower East Side, NYC, 1948  gelatin silver print, 10 3/4 x 12 inches

The Eye, Lower East Side, NYC, 1948 by William Witt

From Ken Russel's "Teddy Girls" series (1950s)

From Ken Russel’s “Teddy Girls” series (1950s) thanks andi!

Jaromír Funke

Film still from Alfred Hitchcock's "Spellbound," 1945

Film still from Alfred Hitchcock’s “Spellbound,” 1945

as always, click the photos for more details and links!

Advertisements

3 Comments

Filed under art, currently