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Lehndorff and Trülzsch: the Seen and the Unseen by Holger Trülzsch Pdf
The body painting, photography and performance work of German artists (born 1939) Vera Lendorff (also known as the famed 1970s fashion model Veruschka) and Holger Truelzsch (of Popol Vuh) are documented in this volume featuring texts by Robert Hughes, Gary Indiana, Susan Sontag and more that retrace the evolution of gender identity in the '70s and '80s.
The radical "body art" showcased here--witty, shocking, and erotic--is the result of the collaboration between Truzsch, a highly regarded European photographer, and Vera Lehndorff, the internationally celebrated model and actress. 215 color illustrations.
HR Giger worked in the Shepperton Studios near London from February to November 1978, creating the figures and sets for the film Alien (1979) directed by Ridley Scott. The film became an international success, earning Giger an Oscar. In the transcribed Alien Diaries, published here for the first time as a facsimile, HR Giger describes his work in the studios. He writes, sketches, and takes photographs with his Polaroid SX70. With brutal honesty, sarcasm and occasional despair, Giger describes what it is like working for the film industry and how he struggles against all odds be it the stinginess of producers or the sluggishness of his staff to see his designs become reality. The Alien Diaries (in German transcription with an English translation) show a little-known personal side of the artist HR Giger and offer an unusual, detailed glimpse into the making of a movie classic through the eyes of a Swiss artist. The book contains almost completely unpublished material, including drawings, Polaroids showing the monster coming to life, and several still shots from the plentiful film material that Giger took in Shepperton.
The life and work of Côte d'Ivoire-based fashion designer Pathé'O, famed for dressing Nelson Mandela This book traces, for the very first time, the extraordinary life and brand of Côte d'Ivoire-based fashion designer Pathé'O (born 1950). Known for his connection to former South African president Nelson Mandela, for whom he designed a number of shirts, Pathé'O's creative lifework will inspire readers in every corner of the world. Outside of dressing African celebrities and politicians, Pathé'O is known for his recent collaboration with Dior, as well as his longstanding partnership with Uniwax, a West African brand making traditional authentic wax-printed garments. The craftsmanship of his creations provides a better understanding of the spectrum of African fashion, merging a trendy present with a rich political and social heritage. This volume explores such topics as labor migration and Pathé'O's ties to his hometown in Burkina Faso, alongside insights into the work of young Ivorian designers, textile traditions and craftsmanship.
Post-empire in the new Middle Kingdom: what once was America is now China. After his Insert Coins project (2016) about the decline of Las Vegas, Swiss photographer Christian Lutz set off to explore the world's new gambling capital, Macao, where everything revolves likewise around money, luxury, surfaces. This former Portuguese colony in the Pearl River delta, now one of China's special economic zones, began its meteoric ascent after the turn of the millennium when the Macao government ended the monopoly on gambling and opened up the market to foreign investors. They erected temples to Mammon, monumental marble and gold faced casino resorts algorithmically modelled on generic Venetian and Parisian templates, bringing in thirty million mostly Chinese tourists a year. Macao's regulated microclimate of gambling halls, boutiques and bars is packed with the usual businessmen and politicians in ill-fitting suits alongside upwardly mobile Chinese families in sweatpants and flip-flops. Everything here is sanitized, antiseptic, dust-free. And everything refers to simulacra of simulacra. Lutz's insistent photographic gaze laconically scans the smooth surfaces of this brave new world in which the first cracks are beginning to show
The book's title reveals the identity of its protagonist: Kathleen McCain Engman has been posing for her son Charlie since 2009. And yet "MOM" shows us a face we never really get to know: while we soon become acquainted with her freckled complexion and intense gaze, her position in the images becomes increasingly unclear. Engman first began shooting his mother because she was available, ever-willing to meet the demands of one of her children. But what began as a casual, organic process evolved into an intense collaboration. The result is neither a family album nor a filial tribute but a much deeper and far more complex interaction: one that raises questions about the limits of familiarity, the rules and boundaries of roles and representation, vulnerability and control, and what it means to look and to be seen.
When the young minimalist painter Olivier Mosset (b. 1944) bought his first motorcycle, a USArmy issued Harley-Davidson, in Paris in the late 1960s, he helped start up a subculture still wholly unknown in europe: the motorcycle club. The young painters Paris studio doubled as a hub of radical paintingconceptually reduced black circles on a white canvasand a hangout for the first Marxist-influenced motorcycle club. WHEELS is an in-depth survey that retraces Mossets career from his involvement with the minimalist art group BMPT to his interplay between motor vehicles and painting. In the mid 1970s, Mosset worked and lived in new York, where he became the founding member of the nY Radical Painting Group before eventually moving to Arizona. Art critic elisabeth Wetterwald interviews Mosset and American artist vincent Szarek, who often collaborates with Mosset, discussing the interface between art and motorcycles. Art historian Philip Ursprung analyzes the importance of technology, culture, and nature. Mosset is represented by Gagosian Gallery, and his work appears in the collections of MoMA, new York, and Centre Georges Pompidou, Paris, among others.
In 'Familiar Territory' we find portrayals of farm animals together with their owners. However, instead of being situated in a stall or field, they are pictured in the midst of peoples' living quarters. The emotional connections that exist between animals and humans find multiple expressions here, and are also effectively questioned. American photographer Jon Naiman invokes the traditions of portrait and documentary photography as a way to investigate culture, habitat, domesticity, family and gender roles, as well as our relationship with animals. Although the photographs are orchestrated and carefully composed, Naiman has managed to capture moments of intimacy.
French photographer and musician Olivier Degorce is usually associated with the emergence of the 1990s electronic music scene, where he was one of the first to compulsively document the Paris raves and electric underground scene. But with camera always in hand, he created many more series, which are only now coming to light. In Fridge Food Soul, Degorce became fascinated with the contents of peoples refrigerators, creating a voluminous archive of images from 1993 to 2017. Using various cameras, from large formal to point and shoot, he captured the colors and smells of items fresh and long expired, while never missing an opportunity to raid a fridge and capture the sheer diversity of individual eating habits. The final presentation is a totally engaging and voyeuristic-like collection of contemporary still lifes. Ranging from the minimal to the most disgusting, the 130 close-up color images pull you into a world that you cannot stop observing.
For over five decades, my most powerful and intense relationship has been with my work. As a graduate student at Yale in the '60s, I began to use the phallus as a metaphor for feminism and male posturing. At the time, Yale was an all-male undergraduate program. I became fascinated with explicit graffiti that I discovered in men's bathrooms, finding inspiration in raw humor and unedited scrawls. Aggression and humor are strongly connected in my work. Beyond these themes, my work delves into the multiple layers of the human psyche. My art confronts the viewer with the urgency and complexity of human relationships - issues that perpetually arise and tension that resonate from our origins to today. (Judith Bernstein, New York, 2016).
Polaroids' by American artist, musician, writer and bookshop keeper Cary Loren interleaves snapshots of his 1970s Detroit entourage with photographs of his elaborately staged collage assemblages of prints, TV stills, magazine covers, stickers, movie posters and other ephemera. The Polaroid medium enables him to manipulate what are seemingly unrelated visual idioms and image carriers in the development process by scratching and pressing the emulsion and combining them into pictures of painterly quality.00This artist?s book includes an interview conducted by American artist Cameron Jamie in cemeteries beside the graves of Loren?s idols (including Vampira, Ed Wood Jr, Jane Mansfield), where Loren?s own life story is told against the biographical background of those buried icons of pop culture.0.
