Vicomtesse Jacqueline de Ribes, New York, December, 1955
This iconic photograph by Richard Avedon of Vicomtesse Jacqueline de Ribes is perhaps the most famous photo of the aristocratic French fashion designer. Avedon described Vicomtesse de Ribes as having a “perfect nose” and remarked, “I feel sorry for near-beauties with small noses.”
© ARNO RAFAEL MINKKINEN
From the Shelton Hotel Looking East, 2005
If you’re in Boston this weekend, don’t miss this Sunday’s free lecture with renowned photographer, Arno Rafael Minkkinen. The event is hosted by the Photographic Resource Center, and takes place at 1pm on April 6 in the Morse Auditorium at Boston University.
© LEONCE RAPHAEL AGBODJELOU
Untitled (from the series Dahomey to Benin), 2010
Leonce Raphael Agbodjelou is a Beninese photographer working out of Porto-Novo, whose work features the people and brilliant colors of his country. He inherited his photographic ability from his father, Joseph Moise Agbodjelou, who himself learned the craft while serving in the French Army. In 1960 upon returning to Porto-Novo, Joseph Moise Agbodjelou opened the photography studio which is now run by his son. Aside from carrying on the family business, Agbodjelou has recently founded the country’s first photography school. Despite the scarcity of chemicals and paper in Benin, he continues to use medium format film.
BERENICE ABBOTT, Portrait of the Artist as a Young Woman, Negative c. 1930/Distortion c. 1950
It’s International Women’s Day, and because of her many contributions to the photographic medium (and in turn, the field of science), we honor the great photographer, poet, and inventor, Berenice Abbott.
An Apple, A Mountain, A Boulder, 1921
In preparation for the upcoming Armory Show in New York City, we’ve pulled this still life photograph by Edward Steichen.
This photograph of an apple is exemplary of the shift from pictorialism to modernism that occurred in the early 20th century. By photographing the apple as it is, Steichen illustrates the camera’s ability to record and augment the light and texture of its uneven surface.
By the end of the decade, this straightforward approach to the photographic still life would be refined by other modernists, including Edward Weston, whose photograph of a bell pepper would successfully challenge opponents of the medium’s capability to go beyond simply recording what was in front of the camera’s lens.