According to Barbara Michaels’ book, Gertrude Käsebier: The Photographer and her Photographs, Käsebier used a view camera and a studio camera. She had Taylor-Taylor-Hobson and Cooke lenses as well as soft lenses for portraits. It has also been recorded that she used a Voigtländer euryscope lens, a Taylor and Hobson Rapid View and Portrait lens, and Smith lenses. When she photographed Rodin, she was traveling Europe and had only brought a small hand camera. It is most likely that she borrowed or rented a large format camera to take Rodin’s portrait.
Käsebier only used gelatin dry plate glass negatives. Typically the original negatives were 6 ½ x 8 ½ in. and 8 x 10 in. plates. For the Rodin series the original negatives were full plate, 10 x 8 in. negatives.
A . Joco
While Mutu employs a variety of mediums including video, installation, and sculpture, she is best known for her large-scale collages on pieces of Mylar.Mutu’s works often make the female body central, and confront the viewer with “plant-like or animal-like elements and intertwined abstract patterns” that merge the organic and the surreal with human forms. These hybrid creatures have bodies made of a combination of machine, animal, human and monster parts. Mutu constructs these warrior-like females out of magazine cutouts, sculpted and painted surfaces, and found materials.The sources her collage images range from a variety of media, including commercial fashion and lifestyle pornography, and automobile and motorcycle magazines. These distorted yet elegant figures that Mutu creates are based on the concept that, “Females carry the marks, language and nuances of their culture more than the male. Anything that is desired or despised is always placed on the female body.
Artworks by Bojan Jevtić
Alicia Martin – Evolution of Surreal Beings