The 31st of October would have been the 94th birthday of one of our favourite photographers Helmut Newton. So it felt right to celebrate his work by asking Yasmina Dexter, a woman who on a daily basis looks as if she should exist in one of his images, Art director at LN-CC and international dj to pick her favourite photographs of his and explain why she loves them so much.
Sie Kommen (They are Coming), 1981
I remember seeing this image vividly when I was nine, my mother was a textile designer and we would get monthly subscription to Italian Vogue which I would spend hours consuming. It shocked me as a child, but in an intriguing way and it has stayed with me ever since, I was seduced by Helmut Newton for the first time. In these images he seems to be challenging the depth in world of fashion, with keeping the sense of intruige,humour and desire.
Untitled Polaroids, 1976
These Polaroid’s illustrate the roles of master and servant in equal power. In the composition of these images particularly, Newton only lets us see part of what is going on in the multi-dimensional set and makes the viewer feel voyeuristic, leaving us intrigued and wanting more. Always.
Le Smoking, Vogue Paris, 1975
A statement of femininity and sexuality that did not rely on typical features of the time, this image of the girl in the perfectly cut Le Smoking Yves Saint Laurent suit in a Parisian street is timeless. The image itself represents a time of re-invention and breaking boundaries in womenswear, with sensational elegance the images are perhaps less about gender for me but a woman exploring her sexuality.
Various polaroids from the 1970s
The combination of skin and water in these images [...]
Collections of Collections, Reba Maybury talks about Sang Bleu at the Victoria and Albert Museum tomorrow
Tomorrow evening, our editor Reba Maybury will be giving a talk at The Victoria and Albert Museum about the different creative and research processes used to create Sang Bleu. A selection of different typographers, performers, food designers, tatoo artists, curators, editors, art directors and product designers will be also talking about their different ways of researching and how they use the Curator app.
Using the Curator app and a maximum of 25 slides of varying content, the group will offer a lightning fast insight into their individual creative process: how they moved from the first fragment of an idea to its final form.
Join us for this event which is part of the V&A Friday Late programme on curating, called Collections of Collections. Entry is free.Victoria and Albert Museum Cromwell Road, South Kensington, SW7 2RL London
V&A Friday Late: Collection of Collections
Friday, 31st of October, 18.30—22pm
Opening on the 13th of November, the Royal Academy will be exhibiting the work of Pop Art god Allen Jones. Showing a cross section of Jones’ work from his famed ‘furniture sculptures’, paintings of erotic legs and even story boards previously unseen created to plan many of his compositions, the exhibition will give a deep insight into one of the most fascinating artists to come out of the 20th century to explore sexuality.
Jones’ provocative paintings of high heeled legs sent out shockwaves into the art world as he addressed eroticism in a totally new way never before experienced in the 1960s. Fetishism and sado-masochism were placed right into focus and glamorised into the advertised style prevalent within Pop art creating utterly fresh ideas and art works.
The exhibition will run from Thursday November the 13th until Sunday January the 25th 2015.
6 Burlington Gardens
Suzannah Pettigrew is the multidisciplinary artist who will be showing her new work at Sang Bleu next week. Pettigrew’s work explores themes of consumerism, digital identities and modern life and through this special exhibition it will see her take on these ideas in the form of a sculpture and video. We caught up with Pettigrew to find out more about her intentions behind the exhibition.
Can you explain to us the work you will be showing at Sang Bleu?
The exhibition will explore the ability to exchange autonomous utopias and the social impact that this has, particularly on intimate relationships. Selling ourselves – and each other – a fantasy of what we want, and how we want it and presenting it as a commodity. The works shown will be a series of videos and sculpture set in an installation.
How important is the physical space to your work and how do you hope to manipulate it for this exhibition?
I want the gallery to give the participant a sense of controlled isolation and detachment. When virtual reality and physical spaces merge it can allow the conditioned desire for the unattainable to be accelerated. Producing a constant feeling of anticipation that something else will arrive.
How do you feel your interest the digital has changed in the last few years? And how has this effected your work?
Digital communication has been a huge focus in my practice over the last few years. As my usage of digital platforms has grown, so has my interest in people’s digital visual dialogue. It’s encouraged me to explore with more digital mediums, such as video, whereas before I would work with more traditional techniques such as painting and screenprinting.
Are there any particular inspirations that have influenced the work you will be exhibiting?
Guy Debord’s writes [...]
Maxime Ballesteros is the Berlin based photographer who from this evening will have a solo show named Entre chien et loup at Sang Bleu’s new exhibition space in London. So to celebrate we’ve spoken to Ballesteros more about the photographs he’ll be exhibiting and his work.
With your images we are often left with the feeling that we are only seeing details and moments of a much bigger going on why is this?
I feel like it could be a definition of my work, and maybe the way I see photography in general. I can only frame a little part of the world, and of a moment. And it’s an interesting feeling for me, when the viewer is not sure of the context, pushed to complete the frame with parts of his own history and sensations.
I can also be only interested by one detail, or a combination of elements, and fill the photograph with it. If you see a white sock stuck on the branch of a tree, you can make a thousand stories out of it. Often the title of the work gives a direction as well.
Your work is often referenced as being provocative and sexual, how do you feel about this and would you agree?
One needs strong words to describe a body of work I guess. I use flashes quite often, and my framing is usually straight forward and centered on what I want to show. That form might be aggressive to some viewers. But on the content level, provocative and sexual wouldn’t be words I’d use to refer to my work. Unless the photo is staged, and in this case it’s clearly visible, my approach is very close to documentary. And my work is as provocative and sexual as the world is, [...]
Today we asked the most beautiful tattooer Philip Yarnell to choose some of his favourite tattoos from his impressive collection and explain why he likes them so much.
My back piece was done by Liam Sparkes around three years ago at Shangri La, we decided on the goat because the original image is by one of my favourite artists Walton Ford. The image of the goat is based on the Faustian tale of selling your soul. The entire tattoo only took about two and half hours which is pretty impressive for a back piece of that size.
These two tattoos on the right hand side of my torso were done by Luca Font and Glue Sniffer. The heroin chic was done by Glue Sniffer earlier this year, I chose this image because I like how crude it is. Luca’s tattoo of the girls head was also created earlier this year at Sang Bleu and I love how classical and timeless this image is.
The top tattoo on my calf was done by Koji Ichimaru at the start of this year at Duke Street, I like this girl because Koji is well known for mixing up traditional Japanese and classic Western styles together, but this one was more unusual for him and most of his images are usually of Japanese content. The tattoo below that was done by Javier Rodriguez at Sang Bleu, I enjoy it because it doesn’t look like anything else I have on my body and there is a lot of character to the devils face.
Thomas Pollard created this great image of the character Suzy Bannion in the horror classic Suspira. For me this is a very iconic image [...]
The Musée d’Orsay is currently hosting an exhibition titled Sade: Attacking the Sun that explores the French writer, the Marquis de Sade’s provocative transformation of literature and the arts.
The Marquis de Sade is the famed controversial writer of the eighteenth and nineteenth centuries known for his explicitly erotic works, often violent, criminal and blasphemous against the Catholic Church. He’s the author of novels such as ‘Justine, or The Misadventures of Fortune‘ and ‘The 120 Days of Sodom‘, which he wrote whilst imprisoned in the Bastille for sodomy and poisoning prostitutes.
De Sade was a libertine, unrestrained and devoid of moral, religious or lawful discipline. The exhibition addresses de Sade and his radical questioning of limits, proportion, excess, notions of beauty, ugliness, the sublime and the body through themes of his ferocious and singular desire, his principle of excess and elements of the bestial.
Sade: Attacking the Sun’s focus is on the revolution of representation that his work unearthed; how it dissolved premeditated religious, ideological, social and moral notions. On display are numerous examples of work that have evidently been influenced by Sade’s philosophies, from artists such as Rodin, Gericaurt, Ingres and Rops.
Works on show that marry art and de Sade’s sadistic, violent and sexual fantasies are Cezanne’s ‘Portrait of a Strangled Woman‘ (1872), Picasso’s ‘The Rape of the Sabines‘ (1962), Goya’s ‘Cannibals Preparing Their Victims‘ (1800-08) and Rops’ ‘Violence ou Satyres’.
The exhibition presents de Sade as a veritable legend whose work, despite its blatant ignorance of contemporary (then, and now) notions of morality, influences art with its violently erotic philosophy.
Sade: Attacking the Sun is on show now until the 25th January 2015 at the Musée d’Orsay, Paris.
More information can be found on their website, here