Windows create the frames for the dramatic silhouettes of private interior moments. 

Silhouette of a Woman / A Maiden at Prayer, about 1899, Gertrude Kasebier. J. Paul Getty Museum. #NowonView At The Window

Windows create the frames for the dramatic silhouettes of private interior moments. 

Silhouette of a Woman / A Maiden at Prayer, about 1899, Gertrude Kasebier. J. Paul Getty Museum. #NowonView At The Window

cinematicphotographer:

Jenn / NYC / MoMa / 2013

The long shadows of a late afternoon, the large windows and exaggerated light. New York City, almost 100 years earlier, but just as dramatic (and cinematic):

New York, negative 1915; print 1916, Paul Strand. J. Paul Getty Museum. #NowonView At the Window.

cinematicphotographer:

Jenn / NYC / MoMa / 2013

The long shadows of a late afternoon, the large windows and exaggerated light. New York City, almost 100 years earlier, but just as dramatic (and cinematic):

New York, negative 1915; print 1916, Paul Strand. J. Paul Getty Museum. #NowonView At the Window.

thoughtlesshero:

Went to LA don’t remember anything but I found photos on my phone.

Windows can evoke the passage of time, when gazing out a window you can see changing colors in the sky, light patterns and clouds moving. The light can stretch and move across the walls, giving visual evidence of an ever moving universe. 

Part of diptych Untitled (…and of time #4), 2000, Uta Barth. ©2000 Uta Barth

#NowonView At the Window

broodingskies:

New York City - March 2013

I imagine these four girls across time and space making faces on the other side of this window. As if one of the girls had a camera faced toward contemporary New York. 
[Four Women Looking Through Window], about 1928, Edmund Collein. © Ursula Kirsten-Collein, Berlin
#Nowonview At The Window.

broodingskies:

New York City - March 2013

I imagine these four girls across time and space making faces on the other side of this window. As if one of the girls had a camera faced toward contemporary New York. 

[Four Women Looking Through Window], about 1928, Edmund Collein. © Ursula Kirsten-Collein, Berlin

#Nowonview At The Window.

escape-time:

Remote

The shop window is both a display and a mirror. Reflections of a street scene and in-window composition of assorted detritus feel similar to Walker Evan’s Secondhand Shop Window.
Perhaps it was once a luxurious lure of passersby like Atget’s image below, but now it stands remote. 

Hairdresser’s Shop Window, boulevard de Strasbourg, 1912, Eugene Atget. J. Paul Getty Museum.

escape-time:

Remote

The shop window is both a display and a mirror. Reflections of a street scene and in-window composition of assorted detritus feel similar to Walker Evan’s Secondhand Shop Window.

Perhaps it was once a luxurious lure of passersby like Atget’s image below, but now it stands remote

Hairdresser’s Shop Window, boulevard de Strasbourg, 1912, Eugene Atget. J. Paul Getty Museum.

Window typologies 

We were interested in architecture. But what you call “architecture” is probably designed architecture, and we were both interested in that difference. The principle “form follows function” is rather not in architecture but in industrial buildings. —Hilla Becher

Window typologies 

We were interested in architecture. But what you call “architecture” is probably designed architecture, and we were both interested in that difference. The principle “form follows function” is rather not in architecture but in industrial buildings. Hilla Becher

Windows to look through, windows to obscure the world, windows to catch rain. 

Rain Drops, Brett Weston, 1953. [The J. Paul Getty Museum, Los Angeles, Gift of Christian K. Keesee © The Brett Weston Archive]
Now on view in At the Window: The Photographer’s View at the Getty Museum.

Windows to look through, windows to obscure the world, windows to catch rain. 

Rain Drops, Brett Weston, 1953.
[The J. Paul Getty Museum, Los Angeles, Gift of Christian K. Keesee © The Brett Weston Archive]

Now on view in At the Window: The Photographer’s View at the Getty Museum.

alexcphotography:

Broken Windows.

Windows can tell us so much about the lives of buildings and their inhabitants.

Paul Strand, Barn Window and Ice, East Jamaica, Vermont, 1943. The J. Paul Getty Museum, Los Angeles, © Aperture Foundation
Now on view in the exhibition At the Window.

alexcphotography:

Broken Windows.

Windows can tell us so much about the lives of buildings and their inhabitants.

Paul Strand, Barn Window and Ice, East Jamaica, Vermont, 1943. The J. Paul Getty Museum, Los Angeles.  © Aperture Foundation

Paul Strand, Barn Window and Ice, East Jamaica, Vermont, 1943. The J. Paul Getty Museum, Los Angeles, © Aperture Foundation

Now on view in the exhibition At the Window.

Observing the formal arrangement of the world around us offers infinite ways to frame and reframe our environment! 

Rue Vavin, Paris, 1925, Andre Kertesz. J. Paul Getty Museum. © Estate of André Kertész

Observing the formal arrangement of the world around us offers infinite ways to frame and reframe our environment! 

Rue Vavin, Paris, 1925, Andre Kertesz. J. Paul Getty Museum. © Estate of André Kertész

kamclicks:

Can’t remember if I took this in the morning or in the evening.

The welcome warm sun illuminates the cool morning mist for a moment; now for you and then for Monet. 

Wheatstacks, Snow Effect, Morning, 1891, Claude Monet. J. Paul Getty Museum.

kamclicks:

Can’t remember if I took this in the morning or in the evening.

The welcome warm sun illuminates the cool morning mist for a moment; now for you and then for Monet. 

Wheatstacks, Snow Effect, Morning, 1891, Claude Monet. J. Paul Getty Museum.

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