August 12, 2014
Joie Iacono is a diamond, polished to shine, reflecting, refracting, and bending light at she desires. A photographer, painter, designer, director, DJ, and collaborator, Iacono is a many-faceted gem who best embodies the phrase, “I am every woman.” She first picked up a camera at the age of eight and turned the lens upon herself, becoming both artist and model in each frame.
Iacono reveals, “My work is diaristic; I am always pulling elements from what is going on in my life, to re-enact and perform these moments for the camera. I am an artist, a business woman, a wife, a homemaker, and a world traveler—yet I’ve been an outsider all of my life. As humans, we are such chameleons. I believe in making the world what I want it to be. My birthday is December 31; according to astrocartography, that’s the Day of the Joker. The Joker is no card and yet it is all the cards in the deck at the same time.I experience nothing and everything. In my art I am capturing the experiences I am having from a tertiary place. I am observing the changes and allowing the process to take place. My mantra for the last couple of years has been to let experiences pass through myself, rather than carry them with me. I am being a receptor, a channel, a path for these ideas.”
It is through these channels that Iacono’s iconography travels, finding its form as it makes its way through time and space. As she changes location, she also changes form. Where she was previously focused on photography in New York, Iacono has become much more invested in music in Berlin. She recalls, “A few years ago when I was touring around Europe a lot with Antony and the Johnsons, I began to have very strong desires to leave the U.S. permanently. Growing up in New York, which is such a transitory place, I met so many people from all over the world who were dying to get to New York City, meanwhile I was dying to experience the places they had come from. As my concerns about the current climate in America grew, my desire to move grew. Living in New York started to feel too forced to me.”
In September 2013, painter Cédrix Crespel collaborated with Iacono on “Exhibition J.O.I.E.” at AD Galerie in Montpellier. She recalls, “I used the show as a jumping off point to leave New York, without really knowing where we would end up, like Lewis Carroll wrote in Alice in Wonderland…
Read the Full Story at THE CHIC.
Marilyn Monroe is a star cast to earth, a spirit in the flesh, and on camera, that’s ethereal. Eternal. Forever a star glowing bright in the sky and we watch as it burns, burns everything in its wake until one day, it’ vanishes. Explosions of sorts, and things leading in that direction, and stories and legends and myths. And Marilyn was the greatest star of them all.
August 5 marks the 52 anniversary of her death, a death that has become as iconic as the legend herself. Less than one year before she died, Monroe posed for Douglas Kirkland, who was then a young photographer on assignment for the 25 anniversary of Look magazine.
The date was November 17 and as Kirkland recounts in his book, With Marilyn, An Evening/1961 (Glitterati Incorporated), “My greatest difficulty during that meeting was telling Marilyn exactly how I wanted to photographer her. As I’d looked into her eyes, which seemed especially warm and virginal to me that evening, I felt as though my two older colleagues were sitting there in judgment, like two ancient schoolmasters, as I tried to gently seduce her into doing the picture I had envisioned, I felt conflicted: one part, the masculine, photographer side, just wanted to say, ‘You’ll get into this bed we’ll have, with nothing on, and we’ll figure it out from there. Period!’
“However, the Sunday School-side of my background wouldn’t let the words come out. Marilyn, with her sweet intuitiveness, made it easy. She simply said, ‘Okay I know exactly what we need. We need a bed with white silk sheets and nothing else, and it will work. But,’ she added, ‘the sheets must be silk.’ She had done the biggest part of my job for me: understood my ideas and articulated them better than I had been able to—bless her.”
In Kirkland’s photographs from this historic sitting, there is an energy, a spirit flowing through the ether, captured forever in these images, a force that floats through our fingers as we page through the book, which is page after page of Marilyn wearing nothing but Chanel No. 5 in bed. It is quite literally exquisite.
Read the full story at THE CLICK.
July 31, 2014
On the cover of Gitta Seiler’s About Girls (Kehrer Verlag) is a beautiful teenager carefully applying mascara to her lashes as she gazes in a compact. Her skin glows with the porcelain finish that youth possesses in droves, and she reclines comfortably as she makes herself beautiful. This image, one of pure repose, is soon revealed in a chapter headed by a single word: Aborted.
It is in this chapter that Seiler visits an abortion clinic for underage women, taking casually composed photographs that belie the pathos of the moment. There is something horrific about these images in that they are understated glimpses into a moment the turning point in many a girl’s life. We may debate the idea that pregnancy is ever unplanned, we may consider that every boy and girl knows the consequences for their actions and are tempting Fate for reasons we cannot understand, but we can consider this: once conception occurs, all preconceived notions are meaningless in the face of this decision. Life or death is controlled for the first time by women, very young women.
Seiler writes, “…I wait with mothers at bed who comfort, and concerned father. I wait for girlfriends who accompany their girlfriends. I wait for a very small ray of happiness. And there: The only boy on the bench serves the hopes of all. There are still people like this, if you’re lucky, people who stay, people who come with you, people who are there. I am stuck in the girl’s soul and I weep. I wipe away my tears and look in them mirror. Like the laughing girl in the mirror who says: it’s over, it’s better than yesterday, things will go on, things will happen. It is a passing misfortune.”
But is it?
Seiler’s photographs are distinctly unsentimental, quiet yet emotionally charged challenges to our assumptions about and understanding of girls. This challenge is issued to both men and women, for in looking at her photographs I find myself reconsidering everything.
Jailed is the single word of another chapter. Seiler takes what has become a fetish and shows us the dirty underbelly; reform school girls are not sexy. Skin is littered with self-inflicted cuts, with self-made tattoos, ad aged by stress. Does it matter what they did to get here, or should we consider who failed them first and led them to act out crimes as a way to release their pain?
There is something taboo about females committing crimes, if only because most shut down and quietly punish themselves. But here we see the girls whose aggression is so extreme, they decided to punish society instead. Like the girls in the abortion clinic, we can never know what lurks deep within their heart, what remorse they may feel (if any) for betraying themselves in this way.
Prison is a lonely place, a place where one is not just locked away from the world, but locked within themselves, forced to deal with or avoid the real issue. That recidivism is high is understandable; nothing about this space creates a feeling of trust, respect, or human potential.
Unwanted is a terror, a living nightmare. It is the story of some girls who did not have the abortion. It begs the question that we can never know; is it better to take a life or to bring it into this world under these conditions? I would hazard to say, there is no answer to this question, for no matter how you try to slice it, abortion is a horrific act. But so to is bringing a child into this world that you deeply resent.
And yet it is all too common for people to just this, not stopping to consider that not one person on this earth ever asked to be born. How it has come to pass that sex has become a thing that we so easily disrespect, so much so that lives can be destroyed by one of Nature’s greatest gifts is evidenced in Seiler’s photographs. There is no love; there is resentment and disgust, there is despair and despondency, there is a much bigger problem waiting to grow up and act out these emotions, emotions passed from by a dark spirit across generations.
Lastly, there is Ran Away, the first chapter of the book. Maybe these girls were unwanted, unloved once. Like all of Seiler’s photographs, it is impossible to know what has brought these girls to this point, what it takes to break them down into nothing but crumbs. About Girls is one of the most powerful and provocative portrait of girls that I have ever seen, taking on some of the darkest aspects of humanity without offering reprieve. But more than that it offers no answers at all but it offers a question mark, a call to rethink what we know.
First Published 28 October 2011
Le Journal de la Photographie
July 29, 2014
Debra Shriver, a 12th generation Southerner, Francophile, passionate preservationist and jazz devotee, is the author of two books on New Orleans: Stealing Magnolias: Tales from a New Orleans Courtyard (Glitterati Incorporated) and In the Spirit of New Orleans (Assouline). Although she is an inveterate New Yorker, living and working as a media executive here in the city, her heart belongs to New Orleans.
Shriver recalls, “Creating both books was a labor of love. Each was written in less than a year. I’d been collecting clips, photography, and books on New Orleans for years. I have always been a student of the city. Both volumes are a great mix of old and new, of vintage, historical, and contemporary street scenes, portraits, landscapes and still lifes.
The first book, Stealing Magnolias, was a very personal book. “There were many intimate vignettes taken throughout the house, like a café au lait served in the morning or a beautiful banana truffle adapted from a recipe I remembered as a child.
“New Orleans feeds all the senses,” Shriver said. “For me, ‘chic’ is another word for beauty. It could be the scent of a perfume, or a bottle of wine just poured, or the color of flowers on the table, or a person walking down the street with a bigger-than-life attitude.
“I opened Stealing Magnolias with a beautiful quote by Roald Dahl: ‘And above all, watch with glittering eyes the whole world around you because the greatest secrets are always hidden in the most unlikely places. Those who don’t believe in magic will never find it.’’
Read the full story at THE CHIC.
July 19, 2014
July 18, 2014
For the past three decades, Ziggi Golding has set the bar for a standard of originality and creativity in the fine art and commercial photography worlds. She is devoted to cultivating talent and style within her roster of artists. As she notes, “I’m an enabler. I like to help people develop and realize their dreams.”
Since first becoming an agent in 1983, Ms. Golding has developed the careers of many of the top talents in the art, photographic, fashion, film, and music industries today. She sits down with The Click to discuss a life in photography.
Ms. Golding remembers, “Growing up in Jamaica, my mom always had a Roliflex. It was the one you looked down in. It was unusual then. It’s interesting that photography wasn’t my love. It was painting and drawing, art in its trues form. But I got interested in photography when I fell int modelling at the end of the 70s.
“As a job, I didn’t find modeling that interesting. I was more into the process of photography itself. After about six years in the industry, I started my own agency, the Z Agency. I wanted to protect models, as they were young and put in compromising positions. I also thought modeling was what you do when you didn’t know what to do with your life.
“I chose interesting people with a good look, amazingly talented people, and I started representing photographers early on like Andrew McPherson, and Geoff Stern, who had made the film, ‘Underground.’ It was part of my role to make things happen on a bigger level. For the ‘Underground’ I helped make a deal with Palace Pictures and Collin Callender, who went on to be the President of HBO Films. I made an early point of generating original work, in addition to booking people.
“With i-D and The Face, all through the 80s, two thirds of the content was connected with Z Agency, whether it was the photographers, models, stylists, make-up or hair. However I was not fulfilled by the modeling side of the industry. I was more interested in being the master of the project.”
Read the full story at THE CLICK.
July 15, 2014
Freddie Leiba is the embodiment of elegance. He is at once both very cool, and warm. His lyrical voice soothes and charms. Once seated in his resplendent abode in midtown Manhattan, Mr. Leiba begins to reflect on the early days, and how they laid the path to a life in fashion, photography, and style that is undeniably glamorous. His vision has been seen on some of the most beautiful women of our time, from Iman to Beyonce, Meryl Streep to Sandra Bullock. He recounts his humble beginnings, and the path he took, back and forth across the Atlantic, though our story begins in the Caribbean.
Mr. Leiba recounts, “I was born in Trinidad and left at the end of the 1950s to go to England. When I grew up, there was no TV. Instead you joined the library and hopefully, you for a good book. I remember as a young boy, my mother took me for a walk one Sunday, as we often did, and we saw Rita Hayworth filming ‘Fire Down Below.’ I had never seen anyone like that in life. I was fascinated by this woman who looked like a goddess on a Caribbean island.
“I would go to the library and research books, then to the movies where it would cost twenty-five cents to see a double feature. I felt at home in this world, but it still felt untouchable. I didn’t think there was any way I would ever be a part of a world like this.
“When I went to London, I really found my place. I just fell into the right group of people. I was attending the Royal College of Art, the most prestigious, most respected art school in the world. I drew incessantly. I drew women in dresses. I was obsessed.
“My mother was broad-minded and had no problems with me doing dress design. She sewed for a living, and taught herself how to sew, and how to play the piano. She worked and worked and worked—and never complained about anything. Everything starts at home, no matter how rich or poor you are. She was a single mother. She did everything to make everything possible for me. I will never forget that. I wouldn’t ever disappoint her even though she’d dead now. She worked so hard to get me to the place I am. I still feel I have to shine. I just have to do it.”
Read the full story at THE CHIC.
July 9, 2014
Some days it storms,
some days it shines.
This is how flowers grow.
July 8, 2014
Photographer and subject have a distinct relationship that is based on the sharing of ideas in mutual exploration of that which does not yet exist until the two come together to bring forth the work, the image that holds the wall or rests, nestled inside the book. The photograph is the space where two become one and what we see is the way in which they create something the world has never seen before.
“Every hat I have ever made has begun in my mind as a photograph. I can see it on the model, at the right angle, before I even begin. I can see what the girl’s going to look like and how it’s going to be worn. But it’s something that’s just for me,” writes celebrated milliner Philip Treacy at the introduction to Philip Treacy by Kevin Davies (Phaidon), an intimate and breathtaking retrospective of Mr. Treacy and Mt. Davies’ two decade-long partnership.
Mr. Treacy continues, “Photography, like design, is an obsession: an obsession with the final image. And most photographers, like most designers, are control freaks, because they care so much that it all looks incredible in the end. We believe in it. Whether you’re a make-up artist, stylist, designer, architect, photographer or anyone working in the creative industries, your work is a point of view. It’s your point of view.”
Mr. Treacy’s hats recall nothing so much as a time long gone, a time when men and women dressed head-to-toe before stepping out of the house. Hats are the last hurrah of a bygone era, a time when attention to detail was as important as expression of self. Mr. Treacy’s hats remind us that glamour is a state of mind, for to carry off one of his superb chapeaus one must have presence, power, and fearlessness.
Kevin Davies’ photographs of the hats themselves are a spectacle of the simplest effect. Set upon a faceless mannequin head, set against a white backdrop, there is nothing to see except the hats themselves. Photography is a comfortable reminder that this is likely as close as we shall ever get, but this closeness will set your heart aflame. That the hats can be worn seems almost too grand. To simply gaze upon their eloquent and effortless form would be enough.
Mr. Davies speaks with THE CHIC about his partnership with Philip Treacy as it developed throughout the years. Read the full story at THE CHIC.
July 6, 2014
I am not afraid of storms,
for I am learning to sail my ship.
July 2, 2014
Passion is a flower, a strange and exotic thing, an energy that burns deep within and underneath and through it all, the candle that lights the dark, the darkness forevermore vanquished, vanished, or at least it seems to be, for once we can see, we believe we know.
The photograph does this, reminds us time and again. The more passionate the photograph the more we return to it. And so it is that a specimen arrived the other day, between two long slips of hardboard were pages sewn together at the spine, and between these two large slips of board the pages turned. Long white layers upon which a flower appeared, not just any flower but dozens I had never seen until I laid my eyes upon Flora by Nick Knight (Schirmer/Mosel).
Flora is a garden of earthly delights, an archive of pressed flowers, each photographed like a portrait. Each plant is from the herbarium of the Natural History Museum in London, a collection which contains more than six million plants from all corners of the world. The book, first published in 1997. is being reissued on the occasion of the publisher’s 40 anniversary. And rightfully so, for Flora is a treasure trove, a magical portal, a veritable repository of soul.
In the book’s preface Mr. Knight observes, “I was struck by the fact that these plants didn’t look dead. Life was very apparent. I could see the movement of the wind blowing through their leaves ad petals. Sense the water flowing through their vessels and their flowers straining to turn and open into the suns’ rays. But these plants had one important difference—the fragility, the tragic urgency that had gone and they had taken on a new certainty of being; a statement like boldness. They have escaped their fate.
“There are few things that make me happier than discovering a new way of seeing the familiar. Seeing in a way I could not have imagined. It is a very liberating seeing and one that makes me feel very optimistic.”
Indeed, for a photographer, the act of seeing is the act itself. To be able to see anew, again and again, to take it all in, to set it down, on paper slipped between boards, to edit from a collection of hundreds until the final 46 came forth. Forty-fix flora taken at full size, collected in this bouquet unlike any other. To see is to believe is to know that we need to feed our eyes to serve the soul. We consume, effortlessly, endlessly in all that exists, but to charge one’s self with looking—that is the next level. Mr. Knight knows life, and now he knows death. The flora here are eternal, preserved forever more as we peruse the pages of Flora.
Valentina Ilardi Martin is the Editor in Chief of GREY Magazine, a sumptuous compendium of fashion photography, fiction and poetry that has been published in a hardcover periodical every spring and every fall since 2009 featuring photographs by Nobuyoshi Araki, William Eggleston, Nan Goldin, Sarah Moon, Martin Parr, Robert Polidori, and Ellen von Unwerth among many more.
The photograph comes first for Ms. Ilardi Martin, whose native Roman passion for the grandeur of everyday beauty belies each story produced in the book. She is nothing if not a womanist by nature, honoring the power and influence of the female mind, body, and heart.
GREY maintains a structural integrity to the construction of the photographs, collaborating in the creation of a shared reality that integrates the clothing into the photograph as though it were not so much a matter of fashion as it were the architecture of the life of the body. How we sheath and clothe, hide and seek, play dress up, how we dress to express, to impress, to pretend, to reveal who we see ourselves as.
Ms. Ilardi Martin recalls, “When I was young, I was illustrating, then I decided to become a painter. My parents were both more structured people; they woke up every morning at 7 a.m. I didn’t want to do that. I wanted to be an artist because I thought they could do whatever they want, whenever they want.
“Then I moved forward. (Laughs). I followed my parents’ advice and went to business school. Then I had a really big accident with a motorbike. I was in a coma for two days. When I came out of it, I said to my father, ‘I’m leaving business school and I am going to art school instead.’ They said yes.”
“I have always had a visual life. I feed myself with my eyes. When I am in places where I cannot feed my eyes, I feel really sick. I would not be able to work in an office which does not have a view,” Ms. Ilardi Martin mentions as the breeze wafts through the window of her ninth-floor home.
Read the Full Story at THE CHIC.
June 17, 2014
Anne Menke first began taking photographs at the age of 8, using her father’s cameras to take pictures. She recalls, “By the time I was 12, I decided I wanted to be a photographer. My Dad got me my own camera.”
Ms. Menke’s mother and grandmother owned a boutique. Their sense of fashion, style, and panache definitely rubbed off, as Ms. Menke went on to shoot for Vogue, ELLE, and Marie Claire, while her sister became a stylist. For Ms. Menke, chic is more than a word; it is a way of life.
Ms. Menke recalls her first job in photography was at 16 years old, apprentice in a wedding studio: “It’s not what I wanted in the long run. But every day, I would be in the waiting room, paging through copies of Vogue, and it was then that I decided, ‘I will work for Vogue.’
“I am from a small town in Germany. I left middle school at 16 and went on to get my degree at 19. I moved to Dusseldorf, where I assisted fashion photographers for two years. Then I started out on my own .I began by testing models and I showed these tests to an advertising agency. The gave me a job, and a year later, I decided to move to Paris. I realized that was the next step, and I lived there for five years. Then I went to New York. And now, I am in Mexico. I have a passion for traveling and for reportage.
“When I was younger, I studied photographers like Alfred Eisenstadt and Henri Cartier-Bresson. These are the books that I would but and look at when I was16, 18, 20 years old. My ideas about fashion came from that sense. I looked up to photographers like Peter Lindbergh. I saw where I wanted to go. I stopped copying and developed my own style.”
That style, one that is as vivid and lush as a rose garden flushing with blossoms and blooms, is exquisitely captured in Ms. Menke’s first monograph, See the World Beautiful (Glitterati Incorporated). Her photographs taken on location while traveling the globe while on assignment are what could best be described as fashion photojournalism. Ms. Menke’s eye is our guide as she takes us to the four corners of the world, showcasing the glorious sensibilities of native dress in its element.
Read the Full Story at THE CHIC.