Dory Devon Un Official Fan Site Tribute

Dory Devon : This Is An Un Official Fan Site Tribute
Leonie Mars, Merissa Stevens, Rhoda Parker, Kathy Lare, Vivian Smyte, Judy Gibbs, Rosy King, Marisa Lyon, Mary Quint, Julie Hopkins, Karen Cusick, Nina Rush, Cathy Cunnsucker, Kitty Suckerman
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Dory Devon

Movie Title Year Distributor Notes Rev Formats Blonde Ambition 1980 Video-X-Pix 1 DRO Blonde Velvet 1976 Video-X-Pix 1 DRO Breakdown 1974 Something Weird Video Anal Facial IR O Breaker Beauties 1977 VEP Facial 1 DRO Chorus Call 1978 TVX BJOnly 1 DO Confessions of a Woman 1977 Essex Video / Electric Hollywood LezOnly 1 DRO Cry Rape 1974 Unknown Dial P For Pleasure 1978 Blue Video Productions IR Erotic Fortune Cookies 1975 VCX Everything You Ever Wanted to See in a Hollywood Movie But the Censors Were Afraid to Show You 1976 Vinegar Syndrome O Fortune Cookie Nookie 1986 Essex Video / Electric Hollywood BJOnly DRO Fury in Alice 1976 Video Home Library Facial O Gulp 1976 Something Weird Video Anal D High School Reunion 1975 After Hours Cinema LezOnly DO Honey Cup 1975 DistribPix Hot Nurses 1976 Caballero Home Video 1 DRO Hot Wired Vanessa 1985 Horizon Anal Facial House of Kinky Pleasures 1975 VCX Anal DP IR Innocent Girl 1976 Something Weird Video Anal IR DRO Lady Vanessa 1985 Horizon BJOnly Facial IR O Love in Strange Places 1976 Caballero Home Video Facial RO Odyssey 1977 VCX 2 DRO Oriental Baby Sitter 1976 TVX BJOnly O Perfect Position 1975 Silhouette Anal Skin Flicks 1978 AVC NonSex 2 DRO Vanessa's Bed of Pleasure 1985 Horizon IR
The pictorialists See also: Pictorialism The use of photography as an art form had existed almost from the very beginning but it was towards the end of the 19th and the beginning of the 20th century that under the influence of the American Alfred Stieglitz its artistic potential, termed pictorialism, became widely recognized.[34] Among Stieglitz' closest associates were Gertrude Käsebier (1852–1934) and Eva Watson-Schütze (1867–1935) who had turned to photography after studying fine art and were committed to developing artistic photography. Their association with Stieglitz led in 1902 to their becoming co-founders of the Photo-Secession movement. They went on to take romantic, yet well composed portraits which were presented at influential exhibitions.[35][36] In addition, Käsebier is remembered for her portraits of Native Americans, soon becoming one of the most widely recognized professional photographers in the United States.[37] Other prominent pictorialists included Käsebier's assistant Alice Boughton and Anne Brigman (1869–1950) with her images of nude women.[38] Mary Devens (1857–1920) who experimented with printing techniques was like Käsebier elected a member of the British Linked Ring which has preceded Photo-Secession in promoting photography as an art form.[39] The German-born Canadian Minna Keene (1861–1943) was also an early female member of the Linked Ring.

Gertrude Käsebier: Chief Iron Tail (1898) Eva Watson-Schütze: A Study Head (1900) Anne Brigman: Soul of the Blasted Pine (1908) Gertrude Käsebier: Miss N, portrait of Evelyn Nesbit (1903) Alice Boughton: Two Women under a Tree (1906) Women photographers from Vienna In prewar Vienna, probably more than in any other European city, photo studios managed by women, especially Jewish women, greatly outnumbered those run by men. In all, some 40 women had studios in the city but the most famous of them all was undoubtedly Dora Kallmus (1881–1963).[41] Known as Madame d'Ora, she became a member of the Vienna Photographic Society in 1905 and opened a studio there in 1907. After gaining success with the Austro-Hungarian aristocracy, she opened a second studio in Paris together with her colleague Arthur Benda, dominating the society and fashion photography scene in the 1930s. In addition to their photographic role, Dora Kallmus' studios became fashionable meeting places for the intellectual elite.[42] Other female photographers who embarked on successful careers in Vienna included Trude Fleischmann (1895–1990), who gained fame with a nude series of the dancer Claire Bauroff before moving on to New York,[43] and Claire Beck (1904–1942) who died in a Nazi concentration camp in Riga.[44] Margaret Michaelis-Sachs (1902–1985), who eventually emigrated to Australia, also embarked on her photographic career in Vienna. She is remembered for her scenes of the Jewish market in Krakow taken in the 1930s.[45] Lotte Meitner-Graf Landscapes and street photography Sarah Ladd (1860–1927) began taking landscape photographs in Oregon at the end of the 19th century. Her images of the Columbia River which she developed in a darkroom on a houseboat were exhibited in 2008 at the Portland Art Museum.[46] British-born Evelyn Cameron (1868–1928) took an extensive series of remarkably clear images of Montana and its people at the end of the 19th century. Rediscovered in the 1970s, they were published in book form as Photographing Montana 1894–1928: The Life and Work of Evelyn Cameron.[47] Laura Gilpin (1891–1979), mentored by Gertrude Käsebier, is remembered for her images of Native Americans and Southwestern landscapes, especially those taken in the 1930s.[48] Berenice Abbott (1898–1991) is best known for her black-and-white photography of New York City from 1929 to 1938. Much of the work was created under the Federal Art Project; a selection was first published in book form in 1939 as Changing New York.[n 1] It has provided a historical chronicle of many now-destroyed buildings and neighborhoods of Manhattan.[49] In Mexico, Lola Álvarez Bravo (1903–1993) is remembered for her portraits and her artistic contributions intended to preserve the culture of her country. Her works are featured in the collections of international museums including the Museum of Modern Art in New York City. In her own words: "If my photographs have any meaning, it's that they stand for a Mexico that once existed."[50] Evelyn Cameron: Alec Flower, her brother (1898) Sarah Ladd: Early Morning above Vancouver (1905) Laura Gilpin: Mission Church at Rancho de Taos (1930) Berenice Abbott: Blossom Restaurant, New York (1935) Photojournalism and documentary work The Library of Congress Prints and Photographs Division preserves millions of images that were created for publication in magazines and newspapers. [51] The Library of Congress Prints and Photographs Online Catalog enables by-name search for images taken by women photojournalists. [52] Pioneers who worked in the late 1800s and early 1900s [53] Canadian-born Jessie Tarbox (1870–1942) is credited with being America's earliest female photojournalist, photographing the Massachusetts state prison for the Boston Post in 1899. She was then hired by The Buffalo Inquirer and The Courier in 1902.[54] Zaida Ben-Yusuf was a woman who made a living independently despite the limited number of careers open to women in the twentieth century.[55] The Gerhard Sisters opened their own photograph studio in St. Louis, Missouri, in 1903, with their photographs appearing frequently in local and national media. [56] Other Pioneers Harriet Chalmers Adams (1875–1937) was an explorer whose expedition photographs were published in National Geographic. She served as a correspondent for Harper's Magazine in Europe during World War I, the only female journalist permitted to visit the trenches.[57] Another war correspondent based in France during World War I was Helen Johns Kirtland (1890–1979) where she worked for Leslie's Weekly.[58] Margaret Bourke-White (1906–1971) was the first foreigner to photograph Soviet industry as well as the first female war correspondent and the first woman photographer to work for Life.[59] During the Great Depression, Dorothea Lange (1895–1965) was employed by the Resettlement Administration to photograph displaced farm families and migrant workers. Distributed free to newspapers, her images became icons of the times.[60] The novelist Eudora Welty also photographed families affected by the Great Depression, especially in rural Mississippi, producing a remarkable body of work.[61] In the early 1930s, Marvin Breckinridge Patterson (1905–2002) published her world travel photographs in Vogue, National Geographic, Look, Life, Town & Country, and Harper's Bazaar.[62] Marion Carpenter (1920–2002) was the first female national press photographer and the first woman to cover the White House.[63] Edie Harper (1922-2010) was an Army Corps of Engineers photographer during WWII, where she took photographs of different structures on the home front, such as hydro dams and cement test samples. Edie processed the film in the lab for the Corps of Engineers.[64] Photographs from her war work became highly acclaimed and were shown in an exhibition at the Cincinnati Contemporary Art Center in 1961.[65][66] Mary Ellen Mark (March 20, 1940 – May 25, 2015) was an American photographer known for her photojournalism / documentary photography,[67] portraiture, and advertising[68][69] as well as filmmaker. Her specialty was documenting from marginalized communities who were "away from mainstream society and toward its more interesting, often troubled fringes"[70] She had 18 publications produced, most notably Streetwise[71] that also became a documentary with Martin Bell and Ward 81.[72][1][73] For Ward 81 (1979), she lived for six weeks with the patients in the women's security ward of Oregon State Hospital. Her photos can be found in major magazines in Life, Rolling Stone, The New Yorker, New York Times, and Vanity Fair. In 1977 to 1998, she became a member of Magnum Photos. Besides receiving Robert F. Kennedy Journalism Awards, three fellowships from the National Endowment for the Arts, the 2014 Lifetime Achievement in Photography Award from the George Eastman House and the Outstanding Contribution Photography Award from the World Photography Organisation, she received many other awards of recognition. Dorothea Lange: Migrant Mother (1936) Jessie Tarbox Beals: William Howard Taft at the St. Louis World's Fair (1904) Helen Johns Kirtland: Signing of the Treaty of Versailles in the Hall of Mirrors (1919) Harriet Chalmers Adams: Rio de Janeiro's waterfront and the Morro de Castello from the Ilha das Cobras (1919) Margaret Bourke-White: Aerial photo of the inner city of the destroyed Wurzburg (1945) Surrealism A number of women used photography as a medium for expressing their interest in Surrealism. Claude Cahun (1894–1954) from France is remembered for her highly staged self-portraits which she began taking in the 1920s.[74] Croatian-born Dora Maar (1907–1997) also developed her interest in Surrealism in France, associating with André Breton and others. Her vivid portraits from the early 1930s bring out the features of the face as if drawn by an artist.[75] The American Lee Miller (1907–1977) combined her fashion photography with Surrealism, associating with Pablo Picasso in Paris before returning to New York. She created some of the most striking nude photographs of the times.[76] Surrealism continued to attract the interest of women photographers in the second half of the 20th century. Henriette Grindat (1923–1986) was one of the few Swiss women to develop an interest in artistic photography, associating with André Breton and later collaborating with Albert Camus, with whom she published images of the River Sorgue in the south of France.[77] From the late 1940s, The Czech Emila Medková (1928–1985) began producing surrealistic works in 1947, above all remarkable documentary images of the urban environment in the oppressive post-war years.[78] Though not strictly a Surrealist, the notable Mexican photographer Lola Álvarez Bravo (1907–1993) displayed elements of Surrealism throughout her career, especially in her portraits of Frida Kahlo and María Izquierdo.[79] During her short life Francesca Woodman (1958–1981), influenced by André Breton and Man Ray, explored the relationship between the body and its surroundings often appearing partly hidden in her black-and-white prints.[80] Evolving American participation Peter E. Palmquist who researched the history of women photographers in California and the American West from 1850 to 1950 found that in the 19th century some 10% of all photographers in the area were women while by 1910 the figure was up to about 20%. In the early days, most women working commercially were married to a photographer. Indeed, up to 1890, any woman working on her own was considered to be daring. As the process became easier to handle, more amateurs emerged, many participating in photographic organizations.[81] In the 20th century, according to scholars, it was hard for women to become successful photographers

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