loving her was surprising to me. her and fleetwood mac.
i feel like this is the era i know least about and should investigate more of.
October 6, 2011
STEVIE NICKS
loving her was surprising to me. her and fleetwood mac.
i feel like this is the era i know least about and should investigate more of.
October 2, 2011
ON SET
Sometimes being on set is what I really love. It's what the whole season gets boiled down to in one (or two) days. It's what all your hard work gets seen as to everyone else in photos.
May 1, 2011
SPRING IS SPRUNG
the weather in brooklyn has been so great lately that it almost doesn't make me miss LA... Almost. Can't wait for vacation in mexico though. Hurry hurry!!
March 15, 2011
February 9, 2011
SPYING ON KATE MOSS
Fashion Photographers Inez and Vinoodh Stake Out the Balmain Supermodel
When Inez van Lamsweerde and Vinoodh Matadin signed on to shoot the fall/winter 2010/11 Balmain campaign starring Kate Moss, they did so as double agents. Without anyone knowing, the renowned fashion photographers set up four surveillance-style cameras to capture Moss’s unbridled performance on set. The short film, titled Everglade, takes its name from the haunting Antony and the Johnsons song that serves as its soundtrack, and premieres on NOWNESS today. It marks the latest instance of the Dutch duo's intentionally blurring the boundaries of reality. “Surrealism is always there in our work, whether it’s in camera or through computer manipulation,” says Van Lamsweerde. “We’ve had the idea for this video for some time. We are fascinated with the different realities going on in one shoot and so the music, the animation, Kate's movements and the camera angle represent these layers of perception.” With animated illustrations by artist Jo Ratcliffe (in collaboration with Bouwine Pool for Sherbet), the film not only captures Moss in action, but also aims to represent a fantasy inner world. “We talked to [Ratcliffe] about it being half horror and half Disney,” Van Lamsweerde says, and what evolved is an idiosyncratic take on the behind-the-scenes genre. “It ranges from a sinewy heavy metal feel to a much cuter place,” she sums up.January 29, 2011
MADAME X
MY LAST POST OF GHOST STORIES PART DEUX REMINDED ME OF SARGENT'S MADAME X PAINTING. IT INSPIRED ME TO DO SOME REAL DIGGING ABOUT THE STORY BEHIND IT.
Portrait of Madame X is the informal title of a portrait painting by John Singer Sargent of Virginie Amélie Avegno Gautreau, wife of Pierre Gautreau. Virginie was an American expat who married a French banker, and became notorious in Parisian high society for her beauty and rumored infidelities. She wore lavender powder [so chic!] and prided herself on her appearance. It was the period in which in London the term 'professional beauty', was used as a woman who uses personal skills to advance to elite status, which was used to describe her.
Portrait of Madame X is the informal title of a portrait painting by John Singer Sargent of Virginie Amélie Avegno Gautreau, wife of Pierre Gautreau. Virginie was an American expat who married a French banker, and became notorious in Parisian high society for her beauty and rumored infidelities. She wore lavender powder [so chic!] and prided herself on her appearance. It was the period in which in London the term 'professional beauty', was used as a woman who uses personal skills to advance to elite status, which was used to describe her.
Sargent displayed his portrait of Gautreau in the Salon of 1884 and was met with a storm of criticism and scandal.
.
"Vernon Lee, friend of Sargent, described him by saying:
“I feel certain that his conscious endeavor, his self-formulated program, was to paint whatever he saw with absolute and researchful fidelity, never avoiding ugliness nor seeking after beauty. But, like most, though perhaps not all, supreme artists. John Sargent was not aware of what he was really about, nor in what manner his superficial verbal program was for ever disregarded by the unspoken, imperious synthesis of his particular temperament and gifts. Also like other painters of those days, John Sargent did not know that seeing is a business of the mind, the memory and the heart, quite as much as of the eyes; and the valeurs which the most stiff-necked impressionist could strive after were the values of association and preference. Now to his constitution, ugliness and vulgarity were negative values, instinctively avoided. In theory, John Sargent would doubtless have defended Manet for cutting some of his figures in half, and even decapitating them by the frame, let alone choosing to portray bounders and sots in ballet stalls and bars. I can almost hear him [arguing] for Renoir's crowd of cads and shop-girls under umbrellas and for Degas's magnificent lady in her bathroom, under the ministrations of a corn-cutter
. . .
it seemed as if for years, he was engrossed in perpetually dissatisfied attempts to render adequately the ‘strange, weird, fantastic, curious’ beauty of that peacock-woman, Mme. Gautreau.”
“I feel certain that his conscious endeavor, his self-formulated program, was to paint whatever he saw with absolute and researchful fidelity, never avoiding ugliness nor seeking after beauty. But, like most, though perhaps not all, supreme artists. John Sargent was not aware of what he was really about, nor in what manner his superficial verbal program was for ever disregarded by the unspoken, imperious synthesis of his particular temperament and gifts. Also like other painters of those days, John Sargent did not know that seeing is a business of the mind, the memory and the heart, quite as much as of the eyes; and the valeurs which the most stiff-necked impressionist could strive after were the values of association and preference. Now to his constitution, ugliness and vulgarity were negative values, instinctively avoided. In theory, John Sargent would doubtless have defended Manet for cutting some of his figures in half, and even decapitating them by the frame, let alone choosing to portray bounders and sots in ballet stalls and bars. I can almost hear him [arguing] for Renoir's crowd of cads and shop-girls under umbrellas and for Degas's magnificent lady in her bathroom, under the ministrations of a corn-cutter
. . .
it seemed as if for years, he was engrossed in perpetually dissatisfied attempts to render adequately the ‘strange, weird, fantastic, curious’ beauty of that peacock-woman, Mme. Gautreau.”
GHOST STORIES PART DEUX
THIS LAST TAFFETA EVENING DRESS REMINDS ME OF SARGENT'S PAINTING, 'MADAME X'
I REMEMBER FIRST SEEING THE PAINTING IN ELEMENTARY SCHOOL IN SOME OLD BOOK I PULLED OUT IN ART CLASS AND BEING STRUCK BY ITS BEAUTY AND MYSTERY. AND STILL AM NOW. SUCH TIMELESS BEAUTY.
January 27, 2011
GHOST STORIES
ON SET AT SHOOT TODAY. LOVE THESE PICTURES. THE FEELING IS BOTH EERIE AND CINEMATIC, LIKE WATCHING AN OLD HORROR MOVIE IN THE DARK.
AND ALSO A BIT SAD AND NOSTALGIC, LIKE FINDING AN OLD LOCKET WITH A PHOTO AND LOCK OF HAIR INSIDE.
I USED TO GO UP TO THE OLD FLEA MARKETS IN CHELSEA AND FIND LOCKETS FROM THE EARLY 1900'S WITH GIRLS' HAIR STILL ENCASED IN THE GLASS OF THE LOCKET. IT MAKES ME WONDER WHO THIS WOMAN WAS AND WHO SHE WAS THINKING OF WHEN SHE CUT A BIT OF HER HAIR TO GIVE AWAY.
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