А вот Долгое время слышал от врачей: Человек, в норме, здоров. Но, изредка болен. ......... Истину реку вам: Человек вечно чем-то болен! И лишь изредка, почему-то здоров.
Kuhn chose the nude as the focus of her work because it represents a timeless canon and she was interested in the idea of the body as residence. Her early work focused on details of the body in black and white; she is quoted as saying:
"I was not yet comfortable photographing the full figure. As I became more comfortable and as I stepped back with the camera and started seeing more of the environment, I realized right away that color was very important … that color was all around and balancing color became very important for me, and it also became a source of inspiration. Every new series starts with me imagining a palette; and then I grow from there."[5]
In an interview with Vanity Fair, Kuhn described her approach to photographing the nude saying: "Photographing someone in the nude is my attempt to reach that moment of perfect balance, the light of awareness in the way we perceive life to be. The nude is present in my work not as a one-dimensional physical manifestation, but rather as a proof of our being, our presence in time, and ultimately caring for what will be lost."[6] She further explains, "I’m most comfortable representing the nude as minimal, timeless, somewhat monastic, and mostly pensive. I enjoy the nuances, the elegance of simplicity; the rustic forms because it brings us close to our own nature and sense of self. My works are not meant to be of this time, but to transcend, in its basic form, the elements of time."[6]
Kuhn's first monograph titled Photographs was published by Steidl in 2004. Photographs was followed by Evidence in 2007, which was accompanied with a short story by Frederic Tuten. Her next project, released in 2010, was a return to her homeland of Brazil, with a series titled Native and an accompanying monograph of the same name published by Steidl.[7] In 2011, Kuhn released Bordeaux Series, also with a monograph published by Steidl, which is a collection of traditional portraits and landscapes.[8] Kuhn's work has been described as "intimate and sensuous," "dreamlike" and "classical" in composition and her approach is unusual in that she develops close relationships with her subjects, resulting in images of remarkable intimacy.[7][9][10] Kuhn describes her relationship with her subjects saying: “My best work starts when they forget they are naked. We entered a parallel reality, something that is lifted from the everyday, a quiet moment that is floating there."[3]
Kuhn describes her visual vocabulary as figurative, however recent works have begun explorations with abstraction. “I wanted to escape the body and photograph the human presence coming in and out of evidence, at times overexposed, at times hidden in shadows, like a desert mirage, a solitary figure who could have been the very first or last.”[11]
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timeasmymeasure
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Date: 2021-09-04 09:56 am (UTC)"I was not yet comfortable photographing the full figure. As I became more comfortable and as I stepped back with the camera and started seeing more of the environment, I realized right away that color was very important … that color was all around and balancing color became very important for me, and it also became a source of inspiration. Every new series starts with me imagining a palette; and then I grow from there."[5]
In an interview with Vanity Fair, Kuhn described her approach to photographing the nude saying: "Photographing someone in the nude is my attempt to reach that moment of perfect balance, the light of awareness in the way we perceive life to be. The nude is present in my work not as a one-dimensional physical manifestation, but rather as a proof of our being, our presence in time, and ultimately caring for what will be lost."[6] She further explains, "I’m most comfortable representing the nude as minimal, timeless, somewhat monastic, and mostly pensive. I enjoy the nuances, the elegance of simplicity; the rustic forms because it brings us close to our own nature and sense of self. My works are not meant to be of this time, but to transcend, in its basic form, the elements of time."[6]
Kuhn's first monograph titled Photographs was published by Steidl in 2004. Photographs was followed by Evidence in 2007, which was accompanied with a short story by Frederic Tuten. Her next project, released in 2010, was a return to her homeland of Brazil, with a series titled Native and an accompanying monograph of the same name published by Steidl.[7] In 2011, Kuhn released Bordeaux Series, also with a monograph published by Steidl, which is a collection of traditional portraits and landscapes.[8] Kuhn's work has been described as "intimate and sensuous," "dreamlike" and "classical" in composition and her approach is unusual in that she develops close relationships with her subjects, resulting in images of remarkable intimacy.[7][9][10] Kuhn describes her relationship with her subjects saying: “My best work starts when they forget they are naked. We entered a parallel reality, something that is lifted from the everyday, a quiet moment that is floating there."[3]
Kuhn describes her visual vocabulary as figurative, however recent works have begun explorations with abstraction. “I wanted to escape the body and photograph the human presence coming in and out of evidence, at times overexposed, at times hidden in shadows, like a desert mirage, a solitary figure who could have been the very first or last.”[11]