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Polaroids and poems. Piles of jewels. Clothing lines and pop-up stores. These are a few of my favorite things. Come together in one woman, that woman is Maripol. She who more than most embody Chic’s lively disco tales. Because it all began on the dancefloor, so many years ago. And to the dancefloor is where we return for another spin around.

French-born artist, designer, photographer, author, film producer, and now—recording artist Maripol has teamed up with composer-producer Leonard Lasry to release four songs inspired by poems from her latest monograph, Maripola X (Le Livre Art Publishing). The songs, three in English, one in French, are both up and downtempo odes that recall nothing so much as a night with Nile Rogers.

Maripol reveals, “Le freak, c’est chic.” (Laughs). “For more chic is a hard word to define. You can’t buy it in a story. It is something you inherit. I got it from my mother and my grandmother. I live in the present, but also in the past. I look at Paris and Hollywood in the 40s and 50s. Everything is an inspiration, from the screen to the streets.

“Look at Commes des Garçons. Their first show revolutionized the Parisian scene with Jean-Michel Basquiat as a model in a suit and bare feet. Chic in the 80s was a natural chic. We didn’t have the money to get dressed. We were very creative.”

Maripol is a force of energy that shines over the Manhattan skyline with a brilliant warmth. Warm like a fire and flickering like a flame, she is one and the same as those who wore her designs in the earliest years, or appeared in her Polaroids, objets d’art unto themselves. Maripol is that trip from Paris to the moon, a ride alongside luminaries like Andy Warhol, Jean-Michel Basquiat, Keith Haring, Kenny Scharf, Francesco Clemente, Debi Mazar, Vincent Gallo, Anna Sui, Steven Meisel, Pat Cleveland, Kid Creole, Futura 2000, Patti Astor, Edwige, Rene Ricard, Teri Toye, Klaus Nomi, John Sex, John Lurie, James Chance, Stephen Sprouse, Anya Phillips, Victor Bockris, Amos Poe, Diego Cortez

Maripol took the New York City by storm with her unforgettable approach to art and life. Read the full story at THE CHIC.

~ magic spells ~

September 1, 2014

Wizard Nebula (Image Credit: J-P Metsavainio)

Wizard Nebula (Image Credit: J-P Metsavainio)

Speech is the mirror of the mind.
~Seneca

http://glitteratiincorporated.com/blogs/the-click/15175273-fotovisura-a-love-story

“Piece OFF Rights” from the series “Free Radicles”, 2011. Photo by Grant Worth, FotoVisura-Member

When you work with people, 40, 60, 80 hours a week you become something of a family, probably because there is no one else you see so much every day of your lives as your coworkers. This is such a strange situation in so many ways, random personalities thrown together for a period in time, eyes on the prize, with one goal in mind: success.

Such as it was to work with Adriana Teresa and Graham Letorney at powerHouse in 2007. It wasn’t that long ago, and yet, it feels like a lifetime has come and gone in just seven years time. Since they first met at powerHouse, Adriana and Graham got married and started their own company, FotoVisura, an independent platform for photographers.

Being a husband and wife team is an intense commitment. Passions and politics and protocol and pragmatism all come into the mix. Where the professional and the personal lines lie is fluid. I have nothing but the utmost respect for couples who can release their egos in favor of something greater than themselves. Adriana and Graham speak with The Click about their life in art, and the risks and rewards of creating an online international self-publishing community and resource for photography that offers annual memberships with access to grants, workshops and a public archive used by industry professionals to find new work and talent. Their mission is to further the work and career of photographers worldwide.

Adriana explains the development of FotoVisura was organic and natural,  responding to a demand in the market that was being undeserved. She observes, “Photographers invest in personal websites, which are one in a million, like stars in the sky—in that you really need to know the name of the star in order to know it exists. Photographers are investing $500-$7000 on a website, which is fine but is the return worth the investment?

“Bottom line, Graham and I do not see individual websites as a good business model solution for students, alumni and emerging photographers. If you can afford having one, go for it—but FotoVisura is an alternative solution that is cost-effective and might have much better results because in addition to an online presence, where one can self-publish, promote and share his or her work, the platform provides many of the resources to further the work and career of photographers. This is our mission.

“From the beginning, we knew that having an online presence was not enough if the photographers did not have access to professional working editors and curators in the industry. So, we began adding resources that could attract leading editors and curators to FotoVisura, for example, the FotoVisura Grant, The Summer Editing Workshops at Stowe Mountain Lodge and Photo of the Day. Plus, we have a very exciting feature for editors coming out this fall which will help them find talent and engage on a whole new level.”

Read the Full Story at THE CLICK.

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“All the new media, including the press, are art forms which have the power of imposing, like poetry, their own assumption,” Marshall McLuhan observed. We live in a time when new media is so ubiquitous as to be omnipresent and the only escape from the world we’ve built is to be out of satellite range—or, even more difficult, to simply turn it off.

But we don’t because we won’t because, like the greatest pharmaceutical drugs, new media has rewired our brains to change the way in which we perceive ourselves and the world itself. The way in which we live has become so extreme that we are hard pressed to remember how we operated any other way. We take for granted the way in which these interactions create and define experience, allowing ourselves to fall under the spell, whether we want to or not. At a time when to not have a Facebook account is an act of defiance, we must consider the bigger picture—the machine itself.

Gingko Press has just released The Book of Probes, a collection of Marshall McLuhan’s finest words culled from his books, over 200 of his speeches, his classes at the University of Toronto, and from nearly 700 shorter pieces he published between 1945 and 1980. The book has been designed by the renowned David Carson, and is aesthetically divided into two sections. One section features quotes, set against the traditional white background. This section is understated, simple, and easy to grasp. It allows the words to do the work of words, and requires nothing except our focused attention.

What makes The Book of Probes fascinating is the other section, the one in which Carson interfaces with McLuhan on a dynamic level. Here, McLuhan’s words are set against a graphic, a photograph, or an illustration. The spread becomes a synthesis of image and text, where the font and layout of the words change the energy of the image upon which they lay. The written word takes on an aesthetic dimension, conveying in equal parts meaning, spirit, and energy. Meanwhile, the image no longer serves as images traditional do—it does not offer reportage or meaning on its own terms. Instead it serves as a vehicle for the words themselves, fusing with the spirit and the energy of the greater thing—the Idea as Ideal.

One of the most challenging aspects of the photography book is the use of words. Words, so dominant in our culture and our society, demand our attention in the way nothing else quite does. They are perceived by the eye and translated by the brain. They are a series of symbols that mean different things depending on the way in which they are ordered. The more evocative the order, the more compelling the idea, until something clicks inside us, and the words stop being words and start being “real.”

When images appear near a photograph they are taken as something greater than words. They are taken as interpretations of the thing which we are viewing. We either read or resist, we want to know or we don’t. We trust our perceptions or we give them over to another to define our experience for us. The challenge of great photography books is how to find the balance between the image and the text, the way to provide information and context without altering our visceral experience of the image itself. Words should be used to provide support, but all too often we become lazy and allow the words to pull the cart.

The Book of Probes is powerful because it addresses just this issue, with words that comment on the experience as we are living it. Taken on their own, McLuhan’s observations are essential to cutting through the fog and the haze of cultural complicity. His insights force us to question our assumptions about the way we communicate, the way we connect, the way we create meaning through media today.

“Obsolescence is the moment of superabundance,” he notes, making us think about why print took such a sharp nosedive, a decline from which it may never recover. In the world of photography books, that superabundance was all too obvious. With the transition to digital production at the same time that China grew in the print industry, costs declined so dramatically that the publishing model of producing more for less did itself in. While publishers were focused on producing cheap product, no one was talking market share or audience building. Instead publishers stood back as superstores killed the retail industry, only now to be terrorized by the power that Amazon wields. No small thing the company named itself after the great rainforest and the great woman warrior. Did publishers really think they stood a chance against a business model that took advantage of their short- sighted thinking?

McLuhan’s single quote in a book of 576 pages stands out to me, but that is only because that is the spread to which I flipped as I write this story. Turn another page and there is a question McLuhan poses. “What happens when the ad makers take over all the popular myths and poetry?” What do you think? What do you feel? We all live in a world where advertising has become culture and culture has become advertising and it becomes very difficult to distinguish the line between art and commerce. That is—if there ever was one to begin with.

The Book of Probes is, in many ways, the ultimate objet de McLuhan. It forces us to stop rushing from end to end, to enjoy the means and the journey instead. It asks us to contemplate and consider rather than conclude. It suggests that the answers do not matter as much as the questions do.

Originally Published 12 March 2012
in Le Journal de la Photographie

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         Terra-cotta Head. Ancient Ife, Nigeria Photo © Herbert List - Magnum Photos 356 notes

Terra-cotta Head. Ancient Ife, Nigeria Photo © Herbert List – Magnum Photos

The light of my face comes from the candle of my spirit.
~Rumi

Photograph by Paul Zone

Photograph by Paul Zone

While most teenagers daydreamed of summer break while playing records in their bedrooms, fourteen-year-old Paul Zone spent his youth immersed in the New York underground, exploring the concrete playground with actors, drag queens, and drug addicts. The mid-1970s was a time when the death of Glam and the birth of Punk collided in a celebration of glitter and grime, and Zone had a front-row seat to it all.

Playground: Growing Up in New York Underground (Glitterati Incorporated), Zone’s first book, is an incredible photo memoir in which the author his reminiscences alongside never-before-seen photographs of a time and a place that have become synonymous with the history of music and culture in the late twentieth century.

As Hilton Als wrote in The New Yorker, “Zone’s black-and-white images are beautiful because they’re filled with attitude. His subjects are all so young and trying not to show it; the poses they strike speak of their relative innocence and glory, and their fearlessness, too. The photos document the importance of the glitter stuck on one’s heel in those long-ago days when not fitting in was more than a badge of honor: it was a commonplace, like courage.”

Playground features photographs of bands including Blondie, The Ramones, The New York Dolls, Iggy and the Stooges, the Dead Boys, Suicide, T. Rex, and KISS, as well as musicians, artists, and scensters such as Richard Hell, Johnny Thunders, Patti Smith, Lou Reed, Wayne County, Alice Cooper, Lance Loud, Stephen Sprouse, Christopher Makos, Anya Phillips, Cherry Vanilla, Arturo Vega, Anna Sui, Sable Starr, James Chance, Lydia Lunch, and more.

As Legs McNeil, author of Please Kill Me: The Uncensored Oral History Of Punk, recalls, “Besides being a rock star, Paul’s artistry with his camera captures all the glam, glitter and garishness of that sinfully decadent time—and reminds us again how much fun everyone was having! We want to be standing there—in every photo—just out of frame– watching, listening and laughing as Debbie Harry and Joey Ramone trade one-liner—before deciding whether to go to Max’s or CBGB’s?”

McNeil continues, “The great feeling we get from his photos—is that Paul Zone was actually ‘In’ with the ‘In Crowd,’ one of those charmed people who was everywhere, every night with all the right people! And he got the goods to prove it! Of all the photos from this period, Paul Zone’s pictures breathes a refreshing new life into a time that is fast becoming a fading memory—and makes us see that wonderful scene for the truly vital moment it was! I love Paul Zone’s visions of the past, which became our future!”

Read the Full Story at THE CLICK.

Photograph by Eric Johnson

Photograph by Eric Johnson

“If God gave you the talent, you should go for it. But don’t think it’s going to be easy,” Aaliyah Dana Houghton knew, and so she spoke. She sang and danced too, more than a woman, you know. She was, she is, an eternal flame burning in memory of a woman gone too soon. She died as she lived, a shooting star cast across the sky. On January 16, 2014, Aaliyah would be 35, were she not to have died on August 25, 2001, at her prime.

In July of her final year, Eric Johnson photographed Aaliyah for Entertainment Weekly, and since that time, photographs from the shoot that have  gone around the globe. Whether gracing the cover of Vibe magazine’s memorial issue or illustrating Aaliyah’s Wikipedia page, the photographs have become so emblematic of that singer’s mystique that they have been remade countless times as murals, paintings, and drawings that are seen everywhere from Instagram to Times Square.

Recently. Johnson went through his negatives from the shoot, revealing a series of portraits the world has never seen. “She was on,” Johnson recalls. The consummate professional, Aaliyah arrived early at the shoot with her mother. Before Johnson’s camera, the triple-threat reveals endless facets of an artist coming into her own.

Read the Full Story at
L’OEIL DE LA PHOTOGRAPHIE

PJMONTE1

For twenty years, “Law & Order” ruled the television airwaves, broadcasting stories ripped from the headlines into the privacy of our living rooms. From 1990-2010, the show brought the darkness of New York’s criminal world to the light. What made the show successful was the way it refused to turn away, but instead moved into murky waters in every episode. For some, truth was found in the details. Talented location scout purposely chose graffiti-laden settings as backdrops upon which these tragic dramas were told.

In tribute to the show that stood so long, New York artists Mint&Serf began publishing SGU (Special Graffiti Unit), a newsprint publication. Featuring photographs, stories, and art, SGU was designed to be a tangible catalogue in what is becoming an increasingly digital world. “Never Too Young” the seventh edition of the publication, is being released in a conjunction with a group photography exhibition of the same name, running August 22- September 7th at No Romance Galleries at 355 Broadway, NY.

Featuring the work of four emerging photographers including Osvaldo Chance Jiminez aka Slutlust, Mike Krim, PJ Monte, and Harry McNally, the exhibition showcases a world that is equal party edgy, glamorous, and banal, a world that is New York City in the new millennium. Co-Curator Mikhail Sokivikov (Mint) spoke with The Click about the ways in which restless youth continue to define the city’s ever-changing landscape. .

Sokovikov observes, “This is our first group photography show. We began by curating the show with focusing on two photographers and realized we needed to open it up to different aesthetics and the ideas behind them. We chose to work with emerging photographers because didn’t want to tap anyone who has already had shows and acclaim. We never had anyone who looked out for us, and thus we were always making our own mistakes. It’s great to be able to give back in a way. We can share our experiences in the art world with these artists, put them on to things they may not know about. It’s the underdog you fight for.”

Read the Full Story at THE CLICK.

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It is the mark of an educated mind
to be able to entertain a thought without accepting it.
~Aristotle

the secret path

August 20, 2014

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When people talk listen completely.
Don’t be thinking about what you’re going to say.
Most people never listen. Nor do they observe.
You should be able to go into a room and when you come out
know everything that you saw in there and not only that.
If that room gave you any feeling
you should know exactly what it was that gave you that feeling.
Try that for practice.
~Ernest Hemingway

Photograph by Carlos Batts

Photograph by Carlos Batts

Sugar and spice and all things nice, like glitter and gold, sparkle and shine and delight, like lip gloss and candy-colored purses with matching shoes and perfume that smells like spring, like flowers in bloom. All things femme, feminine, sexy, sex, lots of it, like seconds and thirds and even fourths. A way of being, of flowing, of feeling, a vibration that is sweet and juicy, like a bowl of mixed berries over cherry vanilla ice cream. And it keeps going, glowing, the way that April Flores with energy, a feeling and a beauty that goes so deep below that you know that it’s love. True Love. Self Love. One Love…because that’s all it ever is, especially when you bring another person into the mix.

This is where Fat Girl (Barnacle Books) begins. Before the lens of Carlos Batts, husband to April Flores, he who dies October 22, 2013, just a few months after the book was released. He who gave his heart, his soul, his love to his muse. He began photographing Miss Flores in June 2000, and from that thousands and thousands of images were born, images of the beauty of the beloved before the man whose heart she adored.

Fat Girl is a love story, a story of wonder, of self-discovery, to be or not to be beauty, to be art, to live as your own creation and to collaborate with your other half, to live as Goddess, Queen, and Consort. Here, the masculine and feminine come together in the celebration of the spirit made flesh, in the celebration of one woman, an icon of glamour that belies the great D.I.Y. art of self invention. April Flores carries her curves the way other women carry their furs. She wears her body like a luxury.

Miss Flores observes, “I have come to have such an ease within my skin by learning over time that confidence is what really matters. I used to be super-uncomfortable within myself because of my weight. Slowly I realized that the happiness I wanted to feel inside would not magically come if I lost the weight. I decided not to base my happiness on something as trivial as body size. It has all been a growing process for me.”

Read the Full Story at THE CLICK.

all the right questions

August 18, 2014

Untitled (1981), by Jean-Michel Basquiat

Untitled (1981), by Jean-Michel Basquiat

It begins, as it always does. With a question or two, three, four. Where we began and where we’ve come, the spiral of eternity known as time. Which is really just distance, measured by rotations of the earth and sun. We come and we go and we never really know unless we stop and ask. And so it is that we reflect, and where we’re going because we’ve been here before, for energy cannot be created or destroyed. But remade once more…

I had no idea it would come to this, but I should have known cause I could have guessed. Without further adieu, I am honored to bring you the words of Negro Libre, once again.

~*~

Mr. Fuego: So basically what you’re saying is that Feminists, most typical Western intellectuals, lawyers, and other Post-Modernists are all philosophically descendent of the Sophists? What about the Solipsists? Were they a derivative of the Sophists?

Mr. Libre: I think, Sophists in particular represent something completely different, you can almost say sophists are the enemies of philosophy. Solipsists are just another kind of sophist, but aren’t as vindictive or as Machiavellian.

Understanding the Sophists, is kind of an exercise in understanding a lot of the history of not just white people, but also the rise and fall of nations. In Ancient Greece, (Athens in particular) most of the societies were dual class. The upper class were the free people, the lower classed were slaves (this has to do with the men primarily). The free people got a liberal education; whereas the slaves got a servile education. The liberal education served the purpose of teaching all the members of that class, what they needed to manage any civil/political activity in the country. Anytime the city wanted something to be done politically, they would literally just throw a name in a hat, put a name, and anyone whose name was picked out was supposed to have the skill and talent to be a leader, thus the primary purpose of the liberal education was to bring about leaders; the purpose of the servile education, was to teach a slave to do a particular job or task…you can guess where our educational system evolved from.

The point is that since there was this divide in the society, the classes evolved differently. The upper class evolved to see things big picture and often talked about big ideas and mulch-faceted things, this was the kind of society that Southerners were trying to rebuild in the U.S, which played a major role in their desire to fight the Civil War, you can find references, which they openly talked about during the Civil War. However, unlike in the South, many of the Grecian slaves were not dehumanized, and weren’t meant to be slaves all their lives.

After the events of the Greco-Persian wars (what the 300 movies are about), the Greeks started to get interested in imperialism, especially the city of Athens, and began to educate themselves on other people’s cultures. Over time, a lot of guys began to realize that due to the fact that cultures differed so much, that the idea that there could be an “objective truth” was dumb. And due to that fact, the easiest way to achieve dominance or political significance was not in being able to persuade people what truth was, but being able to disprove the foolish idea that anyone could know truth. These people became the first group of lawyers, where they started teaching people how to manipulate crowds, got murderers and criminals off, since they were able to argue that it was impossible to know what truth was, all that mattered was creating a story (narrative) that people felt agreeable.

These guys started to get rich, and many of those older traditionalists in the society started to get scared because they could see that the country was in decline. People no longer wanted to be engaged in politics, or take leadership roles, but were more concerned in training themselves in rhetoric to disprove arguments. One of the few people who did a good job refuting these sophists though, was Socrates. Socrates was a broke philosopher, who used to challenge the Sophists, and often embarrassed them publicly. And he separated himself from them, by saying that anyone who charged to give knowledge to others, would by default become a sophists, since they would only profit from complexity. He began to develop a following among many young children, so to traditionalists, he was just as much a sophist as the others, however, it was the sophists managed to convince the traditionalists that Socrates was the main Sophists corrupting the young, so they gathered together and had him executed. 

Due to the corrupting forces of the Sophists, the Greeks eventually divided up and it was hard for them to engage in collective action, since they were all caught up in the disproving of their opposing competitors “truth”, that they forgot that it’s the idea, acceptance and working towards the discovery of an objective truth that actually brings people together, on all levels, despite the ugliness that might occur during such pain. They ended up becoming extremely weak as city states and it was this political weakness that enabled Alexander the Great to completely conquer the nations of Greek, and eventually provide the Romans with the blueprint of Empire, that has been passed down from generation to generation, and is applied by our leaders today.

Post-modernism which is more a modern development, has the same origins in multiculturalism (Lol I sound like a conservative, but it is what it is). Where other cultures, under the guise of diversity, are used instead of as a wider scope of knowledge, but as a way of exercising power over other people and achieving political means. So rather than engaging in the painful debate over facts that is required to arrive at objective truth, Academics just divide up truth based on a group’s consciousness. Which is why there is African American History/Studies, Feminist/Women History/Studies, eventually LGBT studies/history and of course White History, which is just normally History. So rather than having professors and thinkers have to seriously debate the facts of what actually happened in the History of the U.S. for example, various groups of people are only taught the history of the group they choose to associate with, as if your group determines your reality, rather than we all being a part of it. In their desire not to have to defend their points and stick to the facts, but attain unity through propaganda, we all become conflicted in our education, which manifests itself in our politics and prevents intellectual unity.

It all ends up leading to self-imposed divide and conquer which is driven primarily by ambition and appeals to bitterness; it also proves the axiom by my favorite historian Will Durant, that an empire is destroyed from within before it is destroyed from with-out. And it’s usually because people are so caught up in their divisions that they only see the present moment, but cannot see the next 50 to a 100 years in advance. Which is what I think has been the mindset of the black community since black feminism became the dominant ideology among black people. A great example of this is the example of Welfare. We all know welfare is destroying the black community, but in the short term giving up on welfare, would require, mostly black women to have to struggle immensely and not only that rely on black men a lot more, which a lot, especially in that situation are not prepared to do. So what’s the solution…well leave things the way they are, and blame white people. Even as society crumbles, blaming white people, only helps rationalize inaction, where regardless of whether or not you blame white people, it doesn’t change the timetable for your own self-destruction.

Stars, 2014 by Dennis Busch

Stars, 2014 by Dennis Busch

Dennis Busch works in Germany, making his own brand of readymade photography, cutting and collaging and writing charmingly rude messages in white paint over many of the images. He constructs his images from photographs, revising our references until each work circles in on itself like a dream.

Busch’s work is a striking display of nihilistic collage art, absurdist sculpture, and abstracted photographs—many with messages for the public. An image of a medieval coat of armor, placed against a lavish red-orange backdrop, is casually adorned with the work iPhone. Juxtapositions seemingly so meaningless they make one pause in wonder, only to discover there is no “Why?”

Balancing this image is a photograph of an apple that has been given an unfortunate set of teeth. Well, only the top teeth, and those are not too fresh. The apple sits against a white backdrop, enjoying its time in front of the camera with a goofy grin you won’t find anywhere else.

Busch’s provocative iconography is at once awkward, edgy, aggressive, sexy, silly, and sometimes a little sentimental. Published in Back to Normal (Airbag Craftworks), Busch does not ask simple questions or offer easy answers, but happily thumbs his nose at convention, beauty, and formality. His work is a collection of imperfections, and a love of the absurd. Dada for your nerves.

Busch most recently published The Art of Collage (Gestalten), a survey of contemporary work that is as rich as it is inviting in its layering of aesthetics, one a top another. He speaks with The Click about his singular life in art.

Busch observes, “I consider myself a human being. I don’ feel like an artist. I see myself as a ‘metaphysical bomber’ bombing boundary after boundary. I am kind of satirist, critic, truthfinder, surgeon, dreamer, nutter, lovemaker, killer, pathfinder, astronaut, politic, maker, watcher, etc. Who cares about that? That’s part of the only game.”

Read the Full Story at THE CLICK.

become a new spring

August 14, 2014

Frida Kahlo, Self Portrait - Time Flies, 1929

Frida Kahlo, Self Portrait – Time Flies, 1929

There is nothing noble in being superior to your fellow man;
true nobility is being superior to your former self.
~Ernest Hemingway

 

Pablo Picasso, postcard to Jean Cocteau, 1919

Pablo Picasso, postcard to Jean Cocteau, 1919

Art is my way of understanding the world.
~Lygia Pape

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