Imogen Cunningham and Women by M Durquet

Imogen Cunningham
Coffee Gallery, 1960 by Imogen
Portrait of a Woman, 1939, by Imogen
What is on my mind today: the state of women in 2015. It's a vast topic, but I will make it local and personal. I've been reminded that even, and maybe especially, in Silicon Valley, which has some of the best opportunities for creative people, women do not compete on equal terms with the men who run and fund tech companies. See, for example, the January 2015 article by Nina Burleigh in Newsweek: What Silicon Valley thinks of Women, which describes the sexism there as "sordid and systemic." http://www.newsweek.com/2015/02/06/what-silicon-valley-thinks-women-302821.html

In this same Valley, I teach at one of the top high schools in the state, a place where there is much talk about reducing the "achievement gap"(when Latino, Black and other minority students are not performing as well as their Asian and White peers). I don't remember the last time I heard anyone on campus talk about reducing the achievement gap between male and female students in certain subjects- particularly advanced Math and Science classes, where we don't even have statistics but know that these classes are filled mostly with young men. This topic seems to have fallen off the radar in a lot of schools, while universities still lament the underrepresentation of female students and professors in these subjects. We are talking about 50 % of the population, which also includes those in the "traditional" achievement gap. Why is this not equally as, or even more alarming to those of us who think that in 2015, the world is accessible to our daughters, sisters, mothers? 


The subject of how we see and value women came up for me recently in an unexpected way, through the name of a great photographer: Imogen Cunningham. Recently I met with a man who is well known in San Francisco cultural circles and a keen observer/lover of women in his work and life. He had known Imogen. "Oh, she used to live down the street from me," he said, "and she kept asking to take my picture, but I kept telling her no. I didn't know who she was- she was just a little old lady. Later, I used to confuse her with Dorothea Lange." So I asked him, "If she had been young and beautiful, would you have agreed to have your picture taken?" "Oh, of course," he said, "but not because I'd want her to take my picture."

In the US, we fall behind many other countries, and not just industrialized countries, when it comes to the representation of women in many areas of public life. We are doing immeasurable damage when we dismiss old women because they look old, and young women because they are women. When we look at women through the veil of youth, beauty, availability, potential for personal or financial gain, we strip away the possibility of fully knowing them and deny their potential to express their ideas and talents. That is what happened to Imogen all those times she asked to take that man's picture. 

Ode to the Origins of Photography by M Durquet

This past summer, I visited streets in Paris named after two beloved photographers- Louis Jacques Mandé Daguerre and Joseph Nicephore Niepce- without whom the history of photography would not be the same. Both streets provided ample opportunities to discover life through a lens.
Women walking on the Rue Daguerre




New Year 2012 by M Durquet

This new year transition has given me the opportunity to take a few pictures, the by-products of visiting friends. Here are more glass objects from the same window sill I photographed in an earlier post. It's always interesting how the passing of a few months and different light transforms everything. And then there are portraits of two of my favorite Basque people in the world. On the right is Johnny Curutchet, the only living American-born berstolari, and on the left is Agna Iriartborde, who has kept Basque culture alive in the bay area for decades,  in more ways than one could count.

Morandi and Rothko by M Durquet

     A Mark Rothko painting flicked past my eye on a computer screen. This image reminded me of one of my favorite painters: Morandi. Suddenly, I saw the link between these two artists whom I've loved so long. It is obvious, really, but I never made this connection until I saw two particular lavendar and peach colors placed next to each other in a soft, nebulous way in the Rothko painting and could see Morandi's touch there.  I've cropped and rotated a Morandi painting and if you know Rothko paintings you may see this kinship.

And here is the entire Morandi original:

Pebbles: Ocean Beach, San Francisco by M Durquet

front and back of a pebble- image made with scanner.
The pebble
is a perfect creature

equal to itself
mindful of its limits

filled exactly
with a pebbly meaning

with a scent that does not remind one of anything
front and back of a pebble- image made with scanner.
does not frighten 
anything away 
does not arouse desire

its ardour and coldness
are just and full of dignity

I feel a heavy remorse 
when I hold it in my hand

and its noble body is permeated by false warmth 

Pebbles cannot be tamed 
To the end they will look 
at us with a calm and very clear eye. 
poem by Zbigniew Herbert















Lucky to Eat by M Durquet

Today I was thinking about all the beautiful meals I've been served, food that just landed on my plate, so to speak. I sat down and benefited from someone else's labor, imagination and loving effort. So many of them...I've been fortunate. I still remember a gigantic "gateau basque" that descended upon my classroom one day, made by my student Gexan's mother: Valerie Arrechea.  She used a recipe from an old Basque woman who knows about such things as putting the right blend of liquors into custard. Good food is often accompanied by a good story.  These two images come from dinner at the Goodbergs and dinner at the Goldstines. Both were arranged by women who have a feeling for flavor and detail- Patricia and Emily. The meal in the top photo was served in a house once inhabited by Imogen Cunningham; before dinner I was treated to viewing original photographs by Manuel Alvarez Bravo of Cartier-Bresson at age 26,  and Diego Rivera with Trotsky and Andre Breton. There were others:  a photo by Hank Wessel of Lee Friedlander and one of Imogen herself with a drawing by Ruth Asawa in the background. But the most memorable photo was the self-portrait of our host when he was 13, with Edward Weston floating above him in the background.

Barinaga Ranch by M Durquet

Sunday, December 19th was a rainy day spent in the hills behind Novato, where I traveled and got lost with Herbert Gold, stumbling upon some sheep and finally landing at Barinaga ranch. There a lively crowd of fascinating people, a beautifully designed home and delicious meal of ram, (starting with soup and punctuated with salad, ending with Basque cheese in true Basque order and style), awaited. Here are some photos from this day: Herbert Gold (author), Marcia Barinaga (hostess and cheesemaker) and Don A. Glaser (Nobel prize winning physicist).