Danique en Jazz lijken op het oog veel op elkaar enkel. Naast elkaar zijn er aardig wat verschillen. Op afstand toch één gezicht.

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Entré al baño para arreglar un poco mi maquillaje. Unos pasos a lo lejos me hicieron voltear. Eran pesados y bruscos, estaba segura que eran de un chico ya que aquí la mayoría de las chicas usaban tacones y venían hablando a los gritos. -Si vienes a pedirme que te haga algo, estás perdiendo tu tiempo amigo -me encogí de hombros y me giré al espejo de nuevo. Limpié mis mejillas y me extrañó no escuchar respuesta de su parte. Hice una mueca restándole importancia y fijé mi vista en mí celular. Una respiración profunda pegó en mi cuello y antes de que pudiera voltearme, un paño blanco me pegó de lleno en la boca. -Shh -dijo en mi oído. Mi respiración comenzó a pesar y de a poco todo se fue volviendo oscuro. PROHIBIDA SU COPIA Y/O ADAPTACIÓN, TODOS LOS DERECHOS RESERVADOS ©

Speaking of making the world a better place, Käthe Kollwitz was an artist who tried to do just that… And unfortunately, her world was in need of an awful lot of bettering. Born in Germany in 1867, one of Kollwitz's sons was killed in World War I and a grandson was killed in World War II. Her husband was a doctor who worked with the poor, providing her with a constant view of the suffering caused by social injustice, as well as a respect for the beauty and bravery of these hard-working people. In 1920 she became the first woman elected to the Prussian Academy of Arts, but she was forced to resign by the Nazis when they came to power. She died in 1945 just before the end of World War II. Kollwitz's radical father encouraged his daughter's drawing talent and arranged for her to have art lessons. When she went to an art school for women in Berlin she decided that painting was not her strength, and began doing etchings and other printmaking techniques. A little later, looking for more strength and power in her images, she also took up woodcuts. Her prints were widely acclaimed, and her international fame and popularity were such that although the Nazis threatened her, they did not arrest her. Although so much of her work focusses on tragic themes, Kollwitz's art is not unrelieved doom and gloom. Here is a lovely one showing Elizabeth and Mary from the gospel of Luke, two pregnant woman greeting each other and sharing their profound awe and joy. (Of course, both these mothers lost their sons, a theme Kollwitz knew all too well.) Kollwitz also made self-portraits throughout her life, so that we can see her in different moods and as she ages. Sometimes she looks beautiful, sometimes bleak. I particularly like this one, done in 1924 when she was around 57. Although Kollwitz suffered from periodic bouts of depression and had so much cause for despair in the world she saw around her, she never stopped trying to use her art to wake people up to the tragedies of injustice and cruelty. [Pictures: Woman in the Lap of Death, woodcut by Käthe Kollwitz, 1921; Hunger, woodcut by Kollwitz, 1925; Mary and Elisabeth, woodcut by Kollwitz, 1928; Self-Portrait, woodcut by Kollwitz, 1924.]

10 Photos due in class Tuesday, October 29 For this at home photo project, you will be using reflections in your photographs. Visit the links below to learn more about Reflection Photography and vi…

above: Bag and Doily by Hendrik Kerstens A few weeks ago I shared with you the work of Suzanne Jongmans, who reinterpreted paintings by famous Dutch Masters using packing foam and materials. In a similar vein, photographer Hendrik Kerstens has been photographing his daughter Paula since she was a child, posing, lighting and styling her in the manner of famous Flemish art. Using everyday objects like trash bags, toilet paper, lampshades and towels for the fashions, his images simultaneously capture his daughter's serene beauty and the historical seventeenth century style of portraiture. Bubble Wrap: Aluminum: Lampshade: Paper Roll: Pimp Up Towel: Napkin: Flange: Red Rabbit IV: Oastry Bag: Cupcake: Refuse Veil: Trash Bag: Black Cap: Beaver Hat: Pimp Up: Wet Towel: Below is a lovely essay about his work by Margriet Kruyver: When Hendrik Kerstens decided to dedicate himself entirely to photography in 1995, he turned to a model very near at hand: his daughter Paula. He wanted to document all the important moments in her life, to ‘be there’, to capture something of the fleeting moments that fade from memory all too quickly. The inquisitive eye of the photographer plays an important part in the process: he sets out to catch a glimpse of his subject’s secret being and tries to understand what it is he sees. He is fascinated and amazed by the fact that every human being, no matter how familiar, is ‘other’, a mystery that can never be completely unravelled. The project became known as ‘Paula pictures’, one of which went on to win the Panl-award. Something else is going on in Kerstens’ photographs. Time and time again he uses his daughter as a model, immortalizing her, as if to stop time and oblivion. Not only does he picture her in relation to events in her own life, he also projects on her his fascination with the Dutch painters of the seventeenth century. Kerstens: ‘One day Paula came back from horseback riding. She took off her cap and I was struck by the image of her hair held together by a hair-net. It reminded me of the portraits by the Dutch masters and I portrayed her in that fashion. After that I started to do more portraits in which I refer to the paintings of that era. The thing that fascinates me in particular is the way a seventeenth-century painting is seen as a surface which can be read as a description of everyday life as opposed to the paintings of the Italian renaissance, which usually tell a story. Northern European painting relies much more on craftsmanship and the perfect rendition of the subject. The use of light is instrumental in this.’ A number of the portraits of Paula are very reminiscent of Johannes Vermeer. the austerity of the photograph, its clarity, the serene expression on the young girl’s face, untouched by the experiences of adult life and, not least, the characteristic ‘Dutch’ light, all combine to create this impression. Kerstens has photographed others beside his daughter, ‘gave them a place in his heart’ as he calls it. Over the years, he has portrayed a number of men and women. These ‘portraits’ and ‘tronies’(the 17th century Dutch word for faces or heads) refer in their execution to both the Dutch masters and the portraits of the Italian renaissance. Kerstens is conscious of the fact that people are the same, no matter who they are or what age they live in. Any association with a certain age is determined by the way we are depicted: the clothes and make up we wear, accessories and lighting. He is fascinated by this game with time and is capable of magically separating the portrait of Paula in a hoodie from everyday reality. You could say that he 'paints' with his camera. To him, photography with its technical possibilities is a means of continuing the ‘descriptive’ arts. The association with painting is even further emphasised by the sharpness of his photographs. The combination of his fascination with the ‘other’, the love for his child, his attempts to come to grips with the passing of time and the knowledge of his craft make this a unique series of photographs which can be firmly placed in the Dutch tradition. (via Witzenhausen Gallery) Images courtesy of ©Hendrik Kerstens, represented by Nunc-Contemporary Hendrik Kerstens

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Dit keer weer zwart-wit portretten geschoten in mij studio, van twee vrolijke zussen om een 2 in 1 portret te maken.