(Image by Scott Campbell)
Photographer Nick Knight’s digital platform SHOWstudio has teamed up with Garage magazine in an exploration into tattoo’s (ever increasing) relationship with fashion, creating an editorial to be interpreted onto the body, captured and streamed live to the site’s viewers. The editorial shot by Knight, creative directed by Garage’s Dasha Zhukova and styled by Charlotte Stockdale will take inspiration from “the rebellious roots of body art and it’s association with subcultures and tribes”, to be reinterpreted by tattoo artists Scott Campbell, Angelique and Madame Chän onto the bodies of six volunteers, all live streamed throughout the process on SHOWstudio. The project named Always & Forever, alluding to the permanence of body art in comparison to Fashion’s fleeting nature, intends to create the editorial’s counterpart in something enduring.
The project will be streamed live today and tomorrow here.
Rick AKA The Dragon has a fur coat fetish. He creates images using computer software of women wearing enormous fur coats engulfing 90% of their bodies and then shares the images on his Flickr account where you can find him by his user name ‘dragonmaster12′.
The Dragonmaster creates hundreds of images on computer software to fulfil his fetish of women quite literally drowning in fur coats. What is fascinating about these images is that their reality could be so easily achieved. Google search ‘woman in fur coat’ and thousands of images will surely appear. Or alternatively Rick could photograph a woman wearing a fur coat to share on the internet. Its the fact that these photos have been augmented from inception by Rick into a situation that has never existed that is so absorbing.
There is something almost haunting about the digital images that Rick makes, the reality of creating an image of a woman in a fur coat closes in on the mundane and there is nothing instantly sexual about these pictures. Rick reveals no nudity instead we see women engulfed in digital fur usually in domestic situations. The overtly tactile nature to these images with pasted pictures of smoothly photoshopped women’s faces in a virtual setting of a glamourous bedroom or on a ski resort only adds to their surreal nature. There is also a lack of perspective to the images, a woman’s face will be slightly too small or her body will be static in comparison to her background. Most of the time the amalgamation of layers of fur leave the bodies of the women looking even more out of proportion. Theres a complete lack of continuity to the images but it completely adds to their intrigue.
We decided to interview Rick over email to find out what drives him to make these fascinating images and exactly what it is about fur that he is so drawn to.
What is it about fur coats that you find so alluring?Interesting question!When I was a young randy kid growing up in a cold environment,
I realized early on, that cold weather brings bodies together…and at that age, I was really interested in the ladies!
I soon realized that it was a turn on for me to see young ladies wearing layers of winter clothes.
Shortly there after I started offering my coat to the ladies to wear over theirs.This for some reason cranked my libido up to eleven, and I started wearing two or three coats so I could layer the ladies up, and still stay warm too.
Naturally this wasn’t rejected by them, because they were being “looked after” and kept warm.
After graduating college, I dated a “well to do young lady”.. She never mentioned what her folks did and I never asked,
Till she wore a full length shear-ling, with a mans raccoon overcoat over it to a fridged football game we attended.
Needless to say I was “hooked” what a turn on!! She explained her folks were into the fur trade, and I was shortly exposed to
sex in layers if furs..and COLD outdoor sex with only furs to wear..”If you haven’t tried it, you SHOULD!”We split up but I still had the “fever”.. I do to this day… thus these silly pictures are my hobby.How did you become aware of the fur coat fetish community on the Internet?After twenty years with the paramilitary end of a major risk management firm, I found I had virtually no sell-able skills..So I offered to work at a local ISP for free, to learn IT work and web design. after a while I bought half the business, and was ran the ISP..That gave me 24/7 access to the net, because I lived in the building with my daughter, who was attending college.
If you have ever put a kid through college, you know it aint cheap!
So I began designing websites for others and ran into a gentleman named Jay Kraft online.
I did some of his adult web sites and got the idea..What about a fur site? I advertised it by doing fur photo-shops for men and women for a small fee, if their partner wouldn’t indulge them , they could at least still have the fantasy..
You would be surprised how many sold too!
So I got Jay to do photo shoots of pretty ladies naked in fur…and split the profit with him 50/50..
We remain partners to this day…
We have been in business together doing this for over 20 years.
although I no longer run fur fetish sites, as the market is now saturated, I moved on to producing Internet movies, so I am still very active on the net today…My production companies are in Wales, And Portugal. www.blackfoxfemmefatale.com is one of the bigger ones..
I am still active in producing adult fur related material for others though.
I recently gathered up all the old photo shops and put them on flickr, thinking someone might enjoy them.
I still do about two or three a week for kicks…What kind of computer software do you use to make your images?you might find this a bit strange, but I do all the images with a 23 year old program.
the original jasc paint shop pro, basically because it isn’t over simplified, and the “painting” functions are more “real” to the touch. whereas newer graphics programs focus on filters and having everything ”automatic”. and to be honest the only reason I put down pencils paint, and paper was the undo feature lol I also do not use a digital stylus and digital drawing pad as most graphics people do..
I paint with the mouse…it’s easier because I learned that wayfor more advanced filters and lighting effects I use ulead photoimpact, and again the original build of the program, for the same reasons.How do women react to your interest in fur coats?about 99% of them LOVE it. you meet the occasional tree hugger, but when they tell me how many innocent animals died to make my coat I usually say “I didn’t think anyone saw me do it.. now ill have to kill you too” lol. Note I love dogs… but they dont taste very good (just kidding)
the biggest problem I have is once a lady tries on one of my furs is getting it back… I have found that most women who have never tried on a fur are the ones who usually resent them.What is your favorite type of fur?I am really partial to the coarser furs, like raccoon, coyote.. and I love timber wolf and caribou, but i love the softness of fox too.. sable is god’s gift to the fur world… a spirit high… a lady in sable coat (or several at once) is wonderful! lots of fun in bed too!How much is your interest in fur is to do with the sensual and tactile nature of the material? Or do the cultural connotations also interest you?
Of course the softness and warmth are arousing, and I have a coyote floor length coat, 60 inches long , (I am not small guy) that is big enough for me AND a lady to share..
on cold days I get quite a few takers too.. I can tell you unequivocally now that am pushing 60, that midlife crises is much more fun single lolI am basically a misanthrope and don’t give a hoot what anybody thinks. most of the woman I meet love a man who can think for himself, and hasn’t been “feminized”. the reason I wear furs is they are like a second skin…a luxury thing if you will. if the temperature goes up they breath like wool and you don’t over heat, but are instantly
warm going out the door, unlike goose down and plastic, in which you have to move around and generate body heat. animals are efficiently made!
In my opinion the PETA folks would last two minutes where I live.. we hunt for food here, grow our own, and I don’t foresee eating twigs and health pellets anytime soon.
we have plenty of wildlife here, and if you don’t thin the herd, they would starve anyway. so for me animal skin is a natural.
How do you choose the kind of woman you want to be wearing the coats in the images?
I prefer the fresh look, not anything slutty, that is a big turn off for me..
Classic looks, old time stuff, and the business women thing.. Powerful women (not dominant, just self assured) really turn me on
so the rich thing and the furs all goes together preferably smiling of course, like they are having a good time.
since as I said, I am not a kid, anything under 50 looks young to me lol.. and there are a lot of pretty faces on the net to choose from
For you do you think more is better? A lot of your images show women literally drowning in fur.
Do I think more is better? hehehe that is pretty self evident isn’t it? sure. You can never have too much fur! One of things that makes the images difficult (and probably why you don’t see many more made the way I make them) is every photo have a unique “profile” amount of pixel noise, brightness, hue color balance, contrast… etc. You have to have an eye to match these and a steady hand to stitch together credible looking images.. I find it stimulating and arousing, because I can make my own fetish art exactly like I want it..
Do you think most people with a fetish for fur coats are from colder countries?
well you can make the argument that people from warmer climates aren’t exposed to them as much,
as like where I live, but once introduced to the smell, tactile thing and the warmth
during the cold snaps we do have, I get a LOT of converts…Now where i grew up furs were everywhere Generally for men it’s a sexual thing, as men are visually stimulated. I have never been female, but it seems to them it is a means to an end (pressing a guys warm up button) or just warm soft clothing. altho I have met some women it really arouses too!How do you choose the settings for where you place women in the images? Is the setting important to you?
what ever “floats my boat” for the image… I try to use unusual backgrounds,because this is all about the fantasy right? A lot of the images are done to order by people making requests. I have two on flickr of ladies in fur on horses back that are good examples.
A lot of time i wil just go with a mutation of the original photos background for realism..
a well made shot provides a lot of tech info for matching color, contrast.. ect.
Follow dragonmaster12 on Flickr HERE!
Universal Music Japan, Lady Gaga’s Japanese record label last week uploaded a 30 second teaser video. What this film is actually advertising is quite unclear; we are shown what seems to be a bleak factory with moulds of Lady Gaga’s face and body being compressed, moulded and bolted and eventually made into a robot.
The teaser ends with the statement that: “GAGADOLL COMING SOON”. Is Gaga’s new concept that she will now become a consumable entity more than she already is? Exactly how reactive will these robots be if they can be bought by individuals? This is of course another aspect of her expansive marketing strategy but what is it exactly about Robots that is so fitting towards Gaga? What is it about advanced technology that she wants to intertwine herself with so much? How many robots will be made? What will their function be? Will these robots be made in mass or will a one off robot be made as a piece of art? The video seems to show a whole army of silicone bodies hanging in a room.
Lady Gaga is yet to make an announcement about where this footage will lead however Japan is forever associated with robot creation so it almost seems a little too obvious for Gaga to promote her music within that particular country in this manner. As Lady Gaga’s career becomes more and more extreme within pop culture the notion of her creating robots of herself hardly seems surprising especially within the context to ‘ARTPOP’. Fans have speculated that the TechHausdesign branch who recently designed her flying dress are behind this concept. TechHaus is the technical division of the Haus of Gaga founded in 2012 to create the ARTPOP app.
The video succeeds in exactly what its aimed to complete, its left us with questions about her ever growing estate. For a woman who likes to play with extremes and is fully aware of wanting to conquer various aspects of popular culture recreating a mechanical version of herself seems fitting to her progressive nature within her field as a pop musician.
You can watch the video here:
I was very excited to receive my copy of Drawing with Great Needles, a new compilation of essays published by the University of Texas Press on Native American tattooing in North America. The book claims to be “the first book length scholarly examination into the antiquity, meaning, and significance of Native American tattooing in the Eastern Woodlands and Great Plains.” Despite my initial eagerness to delve into the volume, I felt that as a whole, Drawing with Great Needles suffered from methodological and thematic issues. Although I am neither a tattoo expert nor an anthropologist and cannot speak to the accuracy of the historical sources presented in its many essays, I did take issues with some of the broader claims of the volume and the evidence used to make them.
Some of the issues in the book become apparent in its introduction. In the summary of Chapter 1, editors Aaron Deter-Wolf and Carol Diaz-Granados explain how Antoinette Wallace’s essay “compiles ethnohistorical documentation and art historical evidence of Native American tattooing…These accounts from European and Euro-American explorers, settlers, and artists provide an essential window into the extent and variety of indigenous tattoo traditions that existed prior to European contact.” The notion of reconstructing a practice as it existed pre-contact by using post-contact, often biased colonial documents seems to me a problematic exercise, and, frankly doesn’t accurately reflect what Wallace does in her essay. In fact, Wallace thoroughly acknowledges the problems inherent in using colonial sources in her synthetic study of colonial texts and images. Some of the other essays in the volume do, however, un-critically use these kinds of sources in analyses of tattoo motifs and iconography without accounting to the historical specificity of tattooing and the documents that record it.
Another pattern that bothered me was the nonchalance of cross-cultural comparisons. Benjamin A. Steere’s essay, for example, tried to make a case for the plausibility of Swift Creek paddle designs being used as tattoo designs. To set a precedent for this “admittedly speculative” (by his own admission) claim, he discussed the tattooing and craft practices of tribal people in Africa and Borneo. I felt, however that this type of comparison neglected the cultural and historical specificity of tattooing in each place, reducing what could have been an in-depth analysis of Native American practice into a essentializing and reductive argument about “primitive” people across the world. For example, his discussion of anthropomorphic pottery in Africa provided some culturally-specific evidence behind the intersection in pottery and tattoo designs that did not exist in his discussion of Native America. His suggestions for further research, however, were very intriguing, and I hope they are followed through. As someone who studies art history, I was personally confused by F. Kent Reilly’s invocation of both Panofsky and “Myer [sic] Schapiro,” neither of which were examined in their full complexity and specificity (and even necessarily correctly, though perhaps that’s misreading on my part).
I do not want to discount some of the important work presented in this volume. Surely, the synthesis of colonial documents and prior scholarly work in the field is a worthwhile endeavor. Deter-Wolf’s essay, which used comparative archeological evidence to present a means of identifying tattoo instruments was very helpful. Furthermore, many of the essays presented here, especially Lars Krutak’s chapters suggest further thematic points of study. Not only does he contextualize tattooing motifs within Native American culture, but his thoughts regarding facial tattooing and the mouth as a “liminal zone” interested me by discussing the tattoos within context, on the body. Many essays in this volume established the aesthetic precedents for tattooing in other types of artistic practice, so I appreciated Krutak’s thoughts on why tattoos were placed where they were. I also found his photographs of ornamented deer skins intriguing, and wonder about the connection between the many sets of tattooed skin.
Essentially, I feel like this field of study requires a shift in focus, from trying to reconstruct traditional or “ancient” meanings and practices to thinking about the complexity of these practices after contact. If tattoos did have ritual functions, how did these functions change after the introduction of metal tattooing needles rather than the faunal instruments used previously? What can colonial interactions and the critical examination of colonial texts on tattooing tell us about the people who were observing as well as the people being observed (and what about the interaction between the two)? Furthermore, I think that scholars will need to grapple more strenuously with the issues and complexities created by the historical specificity of their sources, including images, which were often stylized or staged. Hopefully that will allow a more fruitful investigation into this interesting body of work in the future.
If anyone else has read the book (especially tattoo experts/anthropologists/historians), I’d love to hear your thoughts.
Since 2002, Montreal’s annual Expozine has brought thousands of visitors together for two days in November for Canada’s largest zine fair. Expozine’s 2013 edition took place this past weekend in the basement of the Église St-Enfant Jésus church, exhibiting small run publications from zines to books with diverse content ranging from left wing literature to graphic art, poetry,photography, art theory, and countless others.
We were in attendance and are happy to present to you our favorite publications below in no particular order.
Jurgen Maelfeyt, Breasts, 2013
Published by Art Paper Editions, Jurgen Maelfeyt’s Breasts presents 32 pages of just that – breasts. An edition of 250, the pages in Breasts consist of uncensored, grainy black-and-white photos of female breasts. Cropped from the rest of the body, Maelfeyt’s images confront the viewer directly, creating a voyeuristic relationship between the viewer and the photographs. This results in a certain level of objectification, where one must evaluate his or her own gaze in relation to the breasts, while simultaneously illustrating the natural beauty of the female form.
eil, Jon Estwards, 2013
eil by Montreal-based photographer Jon Estwards consists of 24 colour pages of Polaroid and 35mm photographs. Many of the images in the zine display Estward’s self-taught fibre process, which gives the images an organic feeling – bridging the gap between those depicted in the images and the natural settings they are photographed in.
Alexandre Lemire, “– – – IS – – WAS”, 2013
Published in an edition of 40, the opening page of Alexandre Lemire’s “– – – IS – – WAS” states “TURNED FROM AN IS TO A WAS BEFORE HE EVEN HIT THE GROUND.” The title of the zine seems to suggested a shortened and cryptic form of this quotation. Like the title, Lemire’s photographs are equally mysterious. Printed entirely in colour, Lemire’s photographs consistently display and reference the human presence in the urban landscape, while at the same time, are entirely devoid of people.
Tomé Duarte, Nome de Doenca Rara, 2012
Tomé Duarte’s 2012 zine Nome De Doenca Rara displays what is perhaps the epitome of the homemade zine aesthetic – raw, no nonsense, black-and-white xeroxed pages. Published in an edition of 100, Duarte’s zine consists of 35mm photographs, collage, drawing, Polaroid photos, and contact sheet scans. With content ranging from photos of a dead body in a casket to various instances of nudity, Nome De Doenca Rara presents a gritty slice of life through this Porto-based photographer’s point of view.
Christian Ferretti’s Grillz – Interview Magazine
An ancient Chinese word has made a recent resurgence across the world thanks to the increasingly open nature of communication of internet users. The word, tuhao, whose most appropriate English parallel would be a kind of “nouveu niche‘ (ironically itself adopted), is being utilized to characterize an extreme monetary decadence to the detriment of social sophistication – tacky glamour.
In a society driven by a complex network of social standards and cultural conventions, the word accumulated negative connotations up to its fading in the 30s, where it came to reflect an aggressive dominance by those in power. Now, coming to mean the acquisition of wealth within one’s own generation, or faster, tied to an implication of coming from poverty or at least a lower social position, the word is being used as a means of cultural sabotage by those less affluent who have used the internet as a platform to incite a kind of linguistic ammunition.
Kim Kardashian in CR Fashion Book
The resurgence apparently originates through the Chinese speaking video gamers who re-appropriated the word in the context of their virtual world to describe how characters in games are rewarded with ‘bling’, projecting onto the word a specific and widely negative representation of the actions of the newly wealthy class.
Now used on average 1 million times a day across social media, having had such a huge impact that the word’s inclusion in next year’s release of the Oxford English Dictionary is being discussed, its widespread use opens up a wider discussion, not just about language, but the future of culture. This almost instant global communication allowing for the development of a shared culture as a result of our knowledge surpassing our individual means, and when these cultural influences have the ability to infiltrate every societal level in any given locality.
Gold tuhao iphone
Published in 1980, Phillippe Dubé‘s book Tattoo-tatoué. Histoire, techniques, motifs du tatouage en Amérique française, de la colonisation à nos jours. has remained relatively unknown within the world of tattoo literature. Written entirely in French, Tattoo-tatoué is one of the early works on tattooing with a focus on Canadian content. A professor of history at Laval University, Dubé utilized a number of interdisciplinary methodologies in his study, touching upon the sociological, psychological, historical, and visual aspects of tattooing. The book also includes a number of photos of notable historic Canadian tattooers (and their work), such as Doc Forbes, Prof. Clément Demers, Prof. Joe Lavoie, and Bruce Bodkin. See below for a selection of these seldom reproduced images.