Danny FoxDanny Fox is a the self trained painter and friend of Sang Bleu living and working in London whose figurative paintings are not quite like anything else happening within painting at the moment. After his recent exhibition with tattooer Liam Sparkes in Paris we’ve spoken to him asking him to share with us one of his favourite paintings decade by decade over the last 114 years.
Although Danish-born artist Asger Carlsen works with a camera, one should not think of him strictly as a photographer. His work morphs and distorts images of the human figure like balls of clay, blending skin textures, bony protrusions, limbs, hair, and fluids into a seamless collage. Drawing on Surrealist conceptions of the body’s form, Carlsen has been quoted as saying that he hopes to destroy the notion of what the photograph is. Using heavy manipulation via Photoshop, his distortions toy less with the idea of the photo as a material object and more with the notion of an image being a document and the body as a material muse.
Photographs from his Canal series–his works are often named after the Chinatown streets in which he lives and works–combine pieces of clay with human body parts, the photographic subjects’ tactility hinting subtly at an existence outside the image. In interviews, Carlsen often speaks of the importance of his images’ maintaining an essence of reality. Carlsen, who began his photographic career as a newspaper photographer, says that the experience taught him the value of working with reality, and through it, by molding it, creating an image with a story. Although the figures he depicts are grotesque and unreal, he seems not to strive for formal effect or the tactile presence of the photographer-editor’s hand in the manipulation process; instead, he elects to include enough of a sense of ”reality” in each image to suggest an objective documentation of form, or formlessness, a meditation on the human body’s shape.
There is a a kid of irrationality to the sub genre of hardcore techno music Gabba, a kind of ridiculous violence but simultaneously a safety in its certainty to how it will always escalate to a similarly excessive finish. The beats will gradually gravitate to an overwhelming quantity per minute resulting in a repetitively unavoidable sound which often verges on the absurd. This short documentary made in 1995 explores the incredibly popular Dutch Gabber scene by interviewing people at raves while they incoherently gurn and explain the importance of gabba in their lives.
The attendees of the raves associate gabba to their weekends in an almost religious way. The trance like dances that gabba produces with the help of ingesting copious amounts of drugs are presented to the viewers of the documentary through filming of lone dancers in sparse studios which creates some of the most visually fantastic scenes. The dances incorporate a sort of mania with hopping and and sprawling arms all created with a complete seriousness.
The documentary also presents a great portrayal of gabba’s distinct fashions. Shaved heads on men in an almost skin head style are paired with shell suits while women perfect their architecturally exact hairstyles, shaved at the sides with long high pony tails and pierced eyebrows.
The film brings up interesting ideas about how this subculture became commercial and how the devotees are unaware of how commercially viable their lifestyle had become as they fill venues of extortion capacity on a weekly basis. The documentary captures the essence of this subcultures before its real honesty, where it once had existed as a truly original cultural phenomenon the records labels and party organises soon understood how to cash in on [...]
Mitchell-Innes & Nash Gallery
534 West 26th St
New York 10001
Known for perceived pornographic images of him and his mother, multimedia artist Leigh Ledare uses photography and found media to put together often provocative assemblages that attempt to map the socio-psychological relations within the formats of photography, language and the societal constructs which they dominate, namely media, and attempt to explore the relationsips that exist as their result; public and private, artist and subject. Two bodies of work are on show at the New York’s Mitchell-Innes & Nash Gallery: An Invitation, the culmination of the public half of a project in which the photographer was asked to photograph an “unidentified European woman with high-profile ties to political and media worlds”, put into context with enlarged pages of the New York Times from the day each image was made, and Double Bind, which saw Ledare take on an existing relationship, similar to that of his breakthrough project with his mother, travelling to a cabin in upstate New York to photograph his former wife who, then, made the same trip some weeks later to be photographed by her new fiancé, each work forcing us to question the societal boundaries we are inexorably tied to; legal, social, linguistic and sexual.
The exhibition runs until April 26th
This selection of films named ‘Tattooing Reality’ shows the iconic Ed Hardy talk about the roots of the tattoo shop Realistic Tattoo in San Francisco and the tattoo masters Greg Irons, Bill Salmon and Dan Thome. There is also a film showing Ed Hardy, Chuck Eldridge, Bob Roberts, Bill Salmon and Leo Zulueta discussing Realistic Tattoo in 1987 and an interview between Don Ed Hardy and Phil Sparrow. The grainy footage hovering over tattooed bodies and fascinating conversations about the then vibrant tattoo scene in San Francisco are films of truly rich and important quality in regards to tattoo history and a very enjoyable watch if you haven’t seen them already.
Thank you to Occult Vibrations for uploading these films.
The Enigma of Myoshka, is as equally revered as he is renowned within both the tattoo and art world alike. Inspiring a generation of practitioners, as well as collaborating with the likes of Thomas Hooper, Tomas Tomas and Xed Le Head, he has earned his name as a Geometrical genius: capable of boggling the mind and altering planes of vision through tesselative drawings, designs and Gif Files. Hundreds of dedicated followers of his complex style have shown permanent appreciation through both tattooing and scarring alike, allowing this realm of adornment to constantly have its boundaries tested and pushed forwards.
SB: How would you define Myoshka?
M: Myoshka is me now. It started off when I was designing stuff and there was a collective of us working. The name was created then with a creative partner of mine at the time. It came from the word Matryoshka; so it was taking about ideas from ideas and a combination of things making the complete entity. Post rationale, I liked it because it was Japanese (laughs). I’ve gone through various transitions from working as an art director, to working as a designer to then doing some freelancing. I’ve been doing advertising for 15 years, but that’s what taught me all the stuff which means I can do the art. At times there’s a little bit of hidden meaning in my work but other times is simply for aesthetic. At the moment, for me Myoshka is the Geometry. I never use my real name; not sure what that says about me. People don’t really know what I am or what I do: I like that.
SB: So how did you discover Geometry? Was it through your day job, or through the likes of tattooing?
Luciano Castelli is the Swiss artist who is perhaps best known for his paintings but the self portraits which he created at the very beginning of his career show him as a mythological creature channeling visions of death, sex, the animal and fantasy. These truly striking and incredibly original images for their time are currently on show at the Maison Européenne de la Photographie in Paris.
Castelli achieved notoriety between 1970 and 1983 as a member of a school of expressive and gestural painting known as the “Jungen Wilden” that had been formed by a group of painters in Berlin. His friendship with the Parisian photographer Pierre Mollinier introduced him to the world of photography and the period spent in France profoundly influenced his pictorial and photographic works. He became a muse for Mollinier which kick started his own explorations with self portraiture.
The dramatically theatrical visions created onto the body of Castelli varied from the expected notions of drag, suggestions of glamour and the primal visions of sexually fuelled animalistic body painting. The fantasy which Castelli dreamed of would become costumed on to his body through the purpose of making these photographs or films. “I believe we are all made up of male and female aspects, and the combination interests me . . .”
There is a true richness in the originality to the images that Casetlli created which is in part to do with how drastically different but simultaneously similar he could make himself look.
Opening yesterday the exhibition runs until the 25th of May.
More information can be found here.