27.3.13
25.3.13
19.3.13
28.2.13
5.2.13
27.1.13
Snow falling and night falling fast, oh, fast
In a field I looked into going past,
And the ground almost covered smooth in snow,
But a few weeds and stubble showing last.
The woods around it have it--it is theirs.
All animals are smothered in their lairs.
I am too absent-spirited to count;
The loneliness includes me unawares.
And lonely as it is that loneliness
Will be more lonely ere it will be less--
A blanker whiteness of benighted snow
With no expression, nothing to express.
They cannot scare me with their empty spaces
Between stars--on stars where no human race is.
I have it in me so much nearer home
To scare myself with my own desert places.
rf
rf
23.1.13
pierre leroux
from "De la poésie de notre epoque" ("Pertaining to the poetry of our time") of 1831:
Poetry is the mysterious wing that glides at will in the whole world of the soul, in that infinite sphere, one part of which is colors, another sounds, another movements, another judgments, and so forth, all vibrating simultaneously, according to certain laws, so that a vibration in one region communicates itself to another region. The privilege of art is to feel and express these relationships, which are deeply hidden in the very unity of life. From these harmonic vibrations of the diverse regions of the soul an accord results, and this accord is life; and when this accord is expressed, it constitutes art. And it so happens that when this accord is expressed, it is a symbol, and the form of its expression is rhythm, which itself partakes of the symbol: that is why art is the expression of life, the reverberation of life, life itself. Poetry, which chooses for its instru-ment the word and creates with words the symbol and the rhythm, is an accord, as is music, as is painting, as are all the other arts: so that the fundamental principle of all art is the same, and all the arts get fused into art, all the poetries into poetry.
13.1.13
to the idiots who say print is dead
AS: How long were you thinking of founding your own press, and what was behind the impulse to do it now—in a time when the future of the printed book seems in danger?
CMP: It’s definitely a Quixotic gesture, but then I’m not sure how accurate the prevailing lament about the fate of the printed book is, let alone how particular to our era—recall Mallarmé’s far more exacting reflections on The Book, and later Blanchot’s, who extends Mallarmé’s thought when conceptualizing the book as an effect that is always already under erasure. Although brick and mortar stores are shuttering rather swiftly, even in Europe, the community of thoughtful, incisive, critically minded readers has always been a minority, but it has sustained presses like ours. And since Hegel, we’ve heard numerous repetitions of the ‘death lament’: the death of art, the death of theater, the death of cinema, and now the death of the book. What are these laments but variations on an eschatological view of phenomena, utterances that demand suspicion. Death is not final, but a process of mutation that carries us into new states.
http://www.brooklynrail.org/2012/12/books/against-a-narcotic-culture-whose-primary-desire-is-stupefactionandrea-scrima-talks-to-rainer-j-hanshe-founder-of-contra-mundum-press
7.1.13
enormous bodies of peoples' desires
For me, cities are enormous bodies of peoples’ desires, and as I search for my own desire within them, I slice into time, seeing the moment.
daido moriyama.
4.1.13
negative capabilty
I had not a dispute but a disquisition with Dilke, upon various subjects; several things dove-tailed in my mind, and at once it struck me what quality went to form a Man of Achievement, especially in Literature, and which Shakespeare possessed so enormously - I mean Negative Capability, that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason - Coleridge, for instance, would let go by a fine isolated verisimilitude caught from the Penetralium of mystery, from being incapable of remaining content with half-knowledge. This pursued through volumes would perhaps take us no further than this, that with a great poet the sense of Beauty overcomes every other consideration, or rather obliterates all consideration.[3]
keats in a letter to his brothers. 1817
keats in a letter to his brothers. 1817
27.11.12
2.8.12
9.7.12
1.7.12
"Would Yves Saint Laurent hate the fashion industry of today?"
"Of course! Yves retired at the right time and he died at the right time. I am sorry to tell you that, but it is very difficult for me to understand what has happened to the fashion business. It is all a question of money and marketing. We never talk about talent – it’s not the point. We only talk about sales. Yves Saint Laurent would have hated that."
Pierre Bergé
http://the-talks.com/interviews/pierre-berge/
"Of course! Yves retired at the right time and he died at the right time. I am sorry to tell you that, but it is very difficult for me to understand what has happened to the fashion business. It is all a question of money and marketing. We never talk about talent – it’s not the point. We only talk about sales. Yves Saint Laurent would have hated that."
Pierre Bergé
http://the-talks.com/interviews/pierre-berge/
11.5.12
29.4.12
mickalene thomas.
Recently interviewed the multi-medium artist Mickalene Thomas for Oyster Magazine's June/July issue. Her work is fascinating and I learned a lot from our conversation. going to write some thoughts about her work in a moment.
nom nom
http://www.paulharndenshoemakers.com/
nom nom
http://www.paulharndenshoemakers.com/
19.4.12
“You have to make quick decisions,” Jenna Lyons, the president and creative director of J.Crew, told BoF. “Ultimately, fashion is all about gut anyway — there’s no science to what this should look like or that should look like or how many times you can redraw that or resketch that or redo that catalogue cover. The fact of the matter is, either it grabs you or it doesn’t.”
from BoF
from BoF
27.3.12
21.3.12
7.3.12
"i thanked courtney for coming and introduced myself as the gallery owner and she said “what’s the gallery called’ and i said “the hole” and she walked away "
kathy grayson's website.
_________________________________________________
Not only do designers produce more stuff than ever before — clothes for early deliveries, for red carpet and editorial, as well as accessories — but they are also increasingly perceived as less important than brands.
A decade ago this seemed unthinkable. Designers enjoyed the status of contemporary artists and architects, and indeed were busy collaborating with them — Rei Kawakubo of Comme des Garçons with Cindy Sherman for advertising, Miuccia Prada with Rem Koolhaas on store concepts, Mr. Jacobs with Takashi Murakami for handbags. This was a significant change from the ’70s and ’80s, when designers like Yves Saint Laurent and Valentino focused on building empires, and living as well as their richest clients. That generation of stars was also broadly involved in decision making, from the choice of factories to the style of carpet in a boutique. Today, some owner-designers are no less involved — Stella McCartney, for instance, and Dries van Noten. But more and more the two sides, creative and management, feel like separate camps, with designers forced to explain the fundamentals of fashion to executives whose last job might have been in finance or baby products.
6.3.12
VALENTINO.
solid, beautiful, 70s, perfect.
kudos chiuri and piccioli - i wish i knew you both.
all photos style.com
1.3.12
7.2.12
4.2.12
WIM WENDERS, NOTEBOOK ON CITIES AND CLOTHES
You live wherever you live, you do whatever work you do, you talk however you talk, you eat whatever you eat, you wear whatever clothes you wear, you look at whatever images you see… you’re living however you can, you are whoever you are. “Identity”… of a person, of a thing, of a place.
“Identity.” The word itself gives me shivers. It rings of calm, comfort, contentedness. What is it, identity? To know where you belong? To know your self worth? To know who you are? How do you recognize identity? We are creating an image of ourselves, we are attempting to resemble this image … Is that what we call identity? The accord between the image we have created of ourselves and …ourselves? Just who is that, “ourselves”?
We live in the cities, the cities live in us ….. Everything changes. And fast. Images above all, change faster and faster and they have been multiplying at a hellish rate ever since the explosion that released the electronic images, the very images that are now replacing photography. We have learned to trust the photographic image, can we trust the electronic image? With painting everything was simple. The original was unique and each copy was a copy, a forgery. With photography and then film it began to get complicated. The original was a negative, without a print it did not exist, just the opposite: each copy was the original. But now, with the electronic image and soon the digital, there is no more negative and no more positive, the very notion of the original is obsolete, everything is copy. All distinctions have become arbitrary, no wonder the idea of identity finds itself in such a feeble state. Identity is out, out of fashion. Exactly. Then, what is in vogue if not fashion itself? By definition, fashion is always in. Identity and fashion; are the two contradictory?
1989
1989
24.1.12
GRANT SINGER, "CEMETARY/MACHINE"
STARRED "Cemetery / Machine" from V Magazine on Vimeo.
new film by the inimitable Grant Singer, for V Magazine featuring STARRED.
x
15.12.11
12.12.11
oyster magazine:::: DOLPHINS FOR ALL. shoot by maya villiger.
10th pic down, surrounded by my dear (aquatic,) (sedentary) friends.
http://oystermag.com/oyster-95-dolphins-for-all
x
10th pic down, surrounded by my dear (aquatic,) (sedentary) friends.
http://oystermag.com/oyster-95-dolphins-for-all
x
11.12.11
available in a week. issue 1, RIOT OF PERFUME.
featuring // work by ..
ANIKA
ZANA BAYNE
SIKI IM
TINA TYRELL
ROBERT NETHERY
JOE BRADLEY
MAYA VILLIGER
CHRIS MARTIN
SASKIA DE BRAUW
GREGORY AUNE
NATASHA STAGG
JOHN GANZ
SONIA STAGG
MARCO LOCKMANN
LUKE TURNER
beaucoup more.
29.11.11
18.11.11
10.11.11
9.11.11
semiotics.
We noted that the model was holding up the perfume bottle which rested in her lap between her legs and we considered that its position was sexually provocative. We understood the model was 17 years old but we considered she looked under the age of 16. We considered that the length of her dress, her leg and position of the perfume bottle drew attention to her sexuality. Because of that, along with her appearance, we considered the ad could be seen to sexualise a child.
British Advertising Standards Authority on why they wouldn't run marc jacobs new ad with dakota fanning.
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