As the cannibal feeds on the flesh of its own species, so too can urban novelty consume the old and once-alive city it replaces. The cannibal’s metabolism functions efficiently feeding on flesh carrying the same DNA code, from the first bite to the cellular breakdown to the release of new energy: the system processes and transforms itself with the strength of the intake. The Metabolist group in post-WWII Japan drew on this linear digestive analogy to speculate on how to create utopian cities in a country that had just lost so much to war.
Kiyonori Kikutake best articulated Metabolisms manifesto: “Contemporary architecture must be changeable, moveable and…capable of meeting the changing requirements of the contemporary age. In order to reflect dynamic reality, what is needed is not a fixed, static function, but rather one which is capable of undergoing metabolic changes…we must stop thinking in terms of function and form, and think instead in terms of space and changeable function.”
Metabolists began designing large-scale buildings for a tabula rasa, the razed, empty city, with vertical fixed components that contrasted with horizontal changeable components. The buildings’ compositions appear unfinished, allowing the eye to see where the future growth would plug-in to the existing core structures in a manner imitating biological cellular reproduction. The projects depended on the ruined city being receptive to a systemic infrastructural make over, a homogenous march towards utopia at the hands of technology.
Arata Isozaki, a fringe member of the movement, expressed skepticism of the linear quest for perfection, citing potential forces majeures, unpredictable events of destruction familiar in Isozaki’s life, natural disasters and acts of war having the ability to damage progress over and over again. “The ruins that formed my childhood environment were produced by acts of sudden [...]
I have hundreds of pics up, on that you can bet.
But my stream is a mix up, so view by the set!
Here’s some of my best, but they’re not the end.
To show you the rest, I must call you my friend!
An adult you must be, so I’m not deleted.
‘Cause what you will see, is Kallie mistreated!
Though I may not deem, that I need to share,
If in your photo stream, I find nothing there!
A poem by Miss Kallie Scott introducing her visitors to her Flickr page
Recently I’ve been really enjoying Miss Kallie Scott‘s flickr photos, the depths of the internet don’t really get much better than discovering the home made photographs of an anonymous man indulging in his secretive cross dressing doll fetish. Especially when there is something so overwhelmingly uncanny about the construction of this individuals fetishised identity.
There are several truly satisfying aspects to the documentation of Miss Scott’s fetish. For example the colour co-ordination and carefully executed set design created in her home. A beige carper paired with a creased lilac polyester sheet hung from the wall sets the stage for the sexless Ms Scott who also seems to enjoy the texture of silken colour co-ordinated fabrics to completely conceal her body. The decoration of her home to hide whatever interiors exist when she’s out of this character panders more to the escapist nature of this fetish but it also creates a surreal notion of a photo shoot being created in the most endearingly amateur way.
Her faces is covered by nylon and she has hand applied some kind of projection of childlike feminine face in the most endearingly naive way on to her mask. The poses she creates exaggerate some kind of quasi feminine body shape which includes exaggerating [...]
Born in Nuremberg to a family of ivory turners, Stephan Zick (1639-1715) was a German ivory carver who is said to have originated the miniature anatomical manikin. Many of these models depict pregnant women, and the intricacy of their detailed bodies–with removable bellies covering miniature fetuses and tiny intestines, livers, and hearts–is completely engrossing, especially given their size of about 5 inches long.
Although the exact purpose for the these models is not currently known, many of these objects were owned by doctors, and many believe they were medical tools, used in the treatment of ailing pregnant women and new mothers, as well as objects for a sort of “curio cabinet.” Part of the fascination I have with these manikins is in their doll-ness, their simultaneous adherence to realistic articulation of faces and bodies and their stylized anatomical mapping. This notion of the body as a plaything, of an a man removing and replacing internal organs as one might put together a puzzle, is just so strangely macabre.
Many of Zick’s figurines come lying in a wooden “coffin” of sorts but rarely seem dead. Some raise their arms to cover their faces, others feature delicately articulated lips, curled into smiles. Always, there is a sense, when playing with these figures, of taking apart passive bodies. While there is, of course, an element of discovery, of scientific revelation, there also seems to be an element of power, both in owning these incredible objects and to controlling their female/expectant/recumbent/expensive bodies.
You can read more about these ivories: here
For over forty years the Pirelli calendar has annually commissioned one established fashion photographer to celebrate female beauty.
This particular calendar was created by Vogue famous fashion photographer Arthur Elgort and it explored themes inspired by Leni Riefenstahl’s “Olympia“, the 1936 Berlin Olympics official film.
Once printed the calendar is distributed around a small range of exclusive individuals, other photographers who have been included in the project include the likes of the prolific Helmut Newton, Richard Avedon, Sarah Moon, Herb Ritts, Bruce Weber, Mert and Marcus, Mario Sorrenti and more.
Presenting women as powerfully stoic while performing athletics semi nude Elgort created something intoxicatingly beautiful about seeing these women in densely airless spaces compete for fantasy competitions. Elgort is known for his ability to capture movement in photography and his creation of lightning has always been highly admired. The timelessness to these photographs where their context could be placed in anything from the Roman Empire, to the statuesque beauty and slightly fascistic look of the 1930s women to to the glossed over glamour of the late 80s is really quite satisfying.
To see more about previous Pirelli calendars have a look here
Derek Ridgers is the photographer who can without argument be thought of as one of the most important social documentarians of twentieth century British subculture. His latest book 78-87 London Youth has been recently released and captures year by year the characters he met around Britain from 1978 to 1987.
His other publication of rebellious youths in When We Were Young has become something of an oddity in trying to claim it since its release in 1999 so this new book is a welcome arrival and will surely become a collectors item some time in the near future.
What Ridgers has done with his photographs and this book is capture the true essence of the development of style for subcultures such as the New Romantics, Punks, Skinheads and Acid House without any pretensions. This books allows us to look directly at how people were adorning their bodies at a time when subculture was so socially relevant and new. Notions of the subcultures captured in this books have been so regurgitated and recycled since these photographs were taken that when thinking of what these subcultures actually are has become strangely blurred. These photographs show what young people were doing to their bodies in the most organic and honest way, it shows young people physically meeting to express their identities in places where they felt comfortable. Its almost easy to forget that the way these people were dressing was completely new at the time. From the darkest basements of Soho clubs to the greyest streets of suburban London Ridgers has presented us with a book that exemplifies the importance of self creation and subculture. It is only now that we can reflect on how poignant and influential these people were in regards to fashion and [...]
via Le Parisien
Claude François était un chanteur populaire, mais aussi un photographe érotique pour son magazine de charme sous le pseudo François Dumoulin. Des clichés souvent pris dans sa chambre à Dannemois, où il terminait parfois la nuit avec les modèles. Une facette méconnue que le grand public va bientôt pouvoir découvrir au Festival européen de la photo de nu qui se tiendra en mai à Arles (Bouches-du-Rhône). C’est la surprise que viennent d’annoncer les organisateurs qui ont prévu d’exposer une quarantaine de clichés du chanteur.
Le 21 mai 1974, Claude François fonde le magazine « Absolu », publié par les éditions Du Moulin et ne laisse à personne d’autre la responsabilité de sélectionner les photos qui illustrent ce périodique de charme. Admiratif de l’œuvre de David Hamilton — qu’il a rencontré en 1972 et à qui il a pris le « truc » de mettre de la vaseline sur l’objectif pour donner un côté sucré et flou aux clichés — et passionné des jeux de lumière sur les peaux nacrées, Cloclo devient à son tour metteur en scène et photographe à l’occasion. Pour préserver un certain mystère, il travaille sous le pseudonyme de François Dumoulin qui sera vite éventé. En tout, il dirigera une quarantaine de séances photos, toujours accompagné par Gilbert Moreau, le photographe du magazine « Podium » que détenait Cloclo, qui se chargeait de la lumière et du cadrage. Essentiellement avec des femmes. Mais aussi quatre ou cinq hommes.
Ce sont ces clichés — que les visiteurs ne peuvent pas voir au moulin-musée de Dannemois (lire ci-dessous) — qui seront exposés en mai. « Claude François avait un souci de l’esthétique et s’était toujours intéressé à la lumière lorsqu’on le prenait en photo durant sa carrière [...]
Jenny Hoepke met Brody Polinsky ‘Clean and Sober Tattoo’ at his old apartment in Kreuzberg Berlin, and then AKA Berlin, where he now works, to have a few words with him about his work and life. His style is defined through etchings, patterns, symbols and dot-work.
Alright, so my first question is. Where did you grow up and how would you describe your childhood?
(laugh) I grew up in Canada. It’s a touchy subject. Growing up was pretty chaotic. I was happy enough though. I mean I was a lucky kid. I grew up in North America. You know. I had shoes, went to school, had a roof.
And what were you like as a child?
(laugh) I was introverted and scared. I guess I was just always inside my head as a kid, which was my first escape, but as soon as I found skateboarding… I just skateboarded and that was it. Then I finally had an outlet that was just for me, by me, away from my family life.
Did you study?
I somehow finished high school in 1997 but I don’t know how, luck I think. Then did some art in summer classes at a university called Emily Carr. I don’t learn very well in a classroom setting. I wouldn’t even consider it studying. It got my feet wet, but it made me happy that I didn’t get in as a full time student. It showed me that I didn’t need that to find my way, ‘cause I will continue to find my way on my own, for myself.
When did you realize that tattooing was your thing? How did you learn to tattoo? When did you start considering tattooing as a profession?
1995. My cousin who was my biggest mentor, someone who I always looked [...]