tag:blogger.com,1999:blog-12683748130151325452024-02-19T05:21:17.424-08:00Les délices de la CruautéExécrations acides fourrées aux beautées absurdes.
Lard dégénéré, Ars Moriendi, plastique fou et ours luciferien.
"Vous êtes priez de refermer la fenêtre en sautant"Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.comBlogger139125truetag:blogger.com,1999:blog-1268374813015132545.post-7678581200569553452012-05-27T16:22:00.001-07:002012-05-27T16:22:26.696-07:00Cocktail de globes oculaires<iframe allowfullscreen="" frameborder="0" height="344" src="http://www.youtube.com/embed/J1ltW_XJ6mk?fs=1" width="459"></iframe>Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-70193029366651094672012-05-15T08:06:00.002-07:002012-05-15T08:06:49.625-07:00Qui est LA II et pourquoi n’a t-il jamais été reconnu ? - by Clayton Patterson<div class="ecxMsoNormal" style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEXK9tSlz2p50Lo5XktlHEu_JuL7sAGqmO8-nYI1fklJOjEieYs1TaA3QyJc49fdWob-NsJKrsaSB7Bvdy44KmLKDnbYxYIaHxW0WjTUoWe6fjO00G9c7z0P3_THSFLtiwz3SJPIFBwGg/s1600/110303_lall-vasa.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEXK9tSlz2p50Lo5XktlHEu_JuL7sAGqmO8-nYI1fklJOjEieYs1TaA3QyJc49fdWob-NsJKrsaSB7Bvdy44KmLKDnbYxYIaHxW0WjTUoWe6fjO00G9c7z0P3_THSFLtiwz3SJPIFBwGg/s400/110303_lall-vasa.jpg" width="266" /> </a></div>
<div class="ecxMsoNormal" style="text-align: center;">
( Image utilisée par Clayron Patterson pour promouvoir l'exposition LA II organisée à la Outlaw Gallery . On y voit comment les deux artistes coproduirent visuellement leurs oeuvres, l'un ajoutant " LA II " , "LA ROCK" ety d'autres sigles autour des " Radiant babies" d'Haring.) </div>
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<br /></div>
<div class="ecxMsoNormal" style="text-align: justify;">
Cet article n’a qu’un seul but : remettre en
mémoire l’histoire d’Angel Ortiz , <span>artiste portoricain
basé dans le Lower East Side .</span></div>
<div class="ecxMsoNormal" style="text-align: justify;">
<span> </span>Jeffery
Deitch , specialiste de Keith Haring et directeur du Los Angeles Museum of
Contemporary Art ( MOCA ), refuse depuis trop longtemps d’accorder à Angel
Ortiz la place qu’il mérite dans l’Histoire de l’Art. Connu sous le nom de
« Little Angel » et « LA II », Ortiz eût une importance
cruciale dans le processus qui permit <span><span>à</span></span> Keith Haring d'acceder la notoriété<span><span></span></span> et à son œuvre d’aboutir au succès retentissant qu’on lui connaît.<span> Pourtant, à cette heure, Angel Ortiz n’a gagné ni<span> l’estime, ni l’assentiment qui lui est dû,<span> </span>c’est-à-dire d’avoir inspiré de façon
majeure son comparse Keith Harring, ayant considerablement influencé une œuvre désormais
acclamée par la critique.</span></span></div>
<div class="ecxMsoNormal" style="text-align: justify;">
<br /></div>
<div class="ecxMsoNormal" style="text-align: justify;">
De fait, le nom et l’identité du premier bras droit
de Keith Harring -<span> </span>Angel Ortiz –
qui s’associa au<span> </span>peintre pour créer
ce style visuel qui fit son succès, ne figureront que rarement au côté de leurs
<span>œuvres réaliséss en collaboration et ce aussi
bien dans les expositions que dans l’histoire de l’art et de sa littérature.</span></div>
<div class="ecxMsoNormal" style="text-align: justify;">
<br /></div>
<div class="ecxMsoNormal" style="text-align: justify;">
Angel Ortiz mérite d’être célébré comme l’un des
artistes portoricains les plus importants et talentueux qu’ait engendré le
Lower East Side au XXème siècle. Désormais, sans qu’elles lui soient
attribuées, ses œuvres appartiennent à des collections privées et
institutionnelles, ses dessins sont également reproduits dans des ouvrages ou
sur des produits dérivés sans qu’il en ait connaissance ou qu’il ai<span>t
</span>pu donner son accord. En d’autres termes, Ortiz a été soigneusement
évincé du monde de l’Art. En 1982, lors de la première grande exposition commune
de Keith et LA II chez Toni Shafrazi, la galerie ne référencera que Keith Haring et
bien qu’Ortiz y exposa également des œuvres, celles-ci ne lui seront pas attribuées. </div>
<div class="ecxMsoNormal" style="text-align: justify;">
<br /></div>
<div class="ecxMsoNormal" style="text-align: justify;">
Quelques temps après la mort prématurée de Keith Haring,
le Withney Museum of American Art organisa une rétrospective du peintre.<span> Angel Ortiz s’invita à l’une des visites guidées
passant en revue l’accrochage de l’exposition. Le groupe <span> </span>s’arrêta
alors pour admirer l’une des collaborations des deux artistes, attribuée à tort
à Haring seul. <span> </span>LA intervient :
« Qui est LA II ?» Le guide, mal informé (ou ignorant tout de la
situation ) lui affirma qu’il s’agissait d’un artiste noir décédé quelques
années auparavant . Ortiz démentit bien sûr cette information, révélant
son identité au guide qui écourta les explications de l’artiste portoricain et
appela la sécurité. </span></div>
<div class="ecxMsoNormal" style="text-align: justify;">
<br /></div>
<div class="ecxMsoNormal" style="text-align: justify;">
Haring débuta sa carrière en tant qu’artiste
graphique. Une fois son partenariat avec Ortiz établi, l’imagination du peintre
et son vocabulaire visuel s’enrichirent et s’étoffèrent considérablement,
phénomène directement lié à leur alliance. Le rôle qu’ Ortiz a joué dans le développement
artistique d’Haring fut clairement déterminé en travaillant sur des œuvres
communes. </div>
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<br /></div>
<div class="ecxMsoNormal" style="text-align: justify;">
De leur collaboration découle une complementarité visuelle singuliere : leur sens de l’échelle, de l’espacement , la
consistance des lignes et des motifs. Cette interdependance l’était également
d’un point de vue pratique : rapidité d’exécution et endurance. Les deux
artistes travaillaient de façon similaire et en parfaite adéquation. Peu
de temps après les premiers succès du duo Haring/Ortiz, les opportunités se
multiplièrent : possibilité d’être représenté par les galeries,
vernissages à l’étranger, exposition tremplin dans les musées les plus
prestigieux. </div>
<br />
<div class="ecxMsoNormal" style="text-align: justify;">
<br /></div>
<div class="ecxMsoNormal" style="text-align: justify;">
Apres qu’Haring est cherché à tout prix à rencontrer
LA II au début des années quatre vingt, les deux hommes furent partenaires durant
six années consécutives, au cours de la décennie de carrière d’Haring. De fait,
selon LA, cette collaboration perdura en effet jusqu’en 1989, date à laquelle
Haring cessa de peindre.<span> </span>Ensemble,
ils produirent des centaines d’œuvres aujourd’hui cotées et prisées des
collectionneurs, exposées aussi bien à New York, Tokyo qu’en Europe. Ce
partenariat n’a finalement que peu de différences avec celui qui unit Braque et
Picasso aux origines du mouvement cubiste, mise à par le fait que Braque gagna
la reconnaissance qui lui était due. Par ailleurs, il est important de rappeler
que les écrits de Keith Haring ont toujours fait mention de LA II en racontant
son histoire. C’est à Deitch et au Withney, parmi d’autres <span> </span>historiens
de l’Art, critiques et marchands que l’on doit d’avoir négligé ou omis le rôle
joué par Ortiz<span> </span>dans la genèse et le
développement de l’œuvre d’Haring dans son ensemble. </div>
<div class="ecxMsoNormal" style="text-align: justify;">
<br /></div>
<div class="ecxMsoNormal" style="text-align: justify;">
Il existe deux épais ouvrages abondamment illustrés
faisant autorité sur l’œuvre de Keith Haring : l’un écrit par Jeffrey
Deitch, l’autre par le Withney Museum. Aucun de ces livres ne mentionne le nom
de LA II dans les reproductions des œuvres effectuées avec Haring , ainsi que
celles réalisées en solo par l’artiste portoricain </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh-llyWxXGsaZAjHB8NKsgsHE2bCbNatOlDLIXyaqKyJNHMyPnk0YHY_dkV7vwKbcehH0eWv3y7LUgJKODANfmryMEVFhcIC05-jo5VMJuu7GDt9E5oZwTUAf6omlAd7xHcSQa8PRKSFY/s1600/110303_lall-orti.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh-llyWxXGsaZAjHB8NKsgsHE2bCbNatOlDLIXyaqKyJNHMyPnk0YHY_dkV7vwKbcehH0eWv3y7LUgJKODANfmryMEVFhcIC05-jo5VMJuu7GDt9E5oZwTUAf6omlAd7xHcSQa8PRKSFY/s320/110303_lall-orti.jpg" width="253" /></a></div>
<div class="ecxMsoNormal" style="text-align: center;">
( Angel Ortiz , photo : Clayton Patterson )</div>
<div class="ecxMsoNormal" style="text-align: justify;">
<br /></div>
<div class="ecxMsoNormal" style="text-align: justify;">
<span>Deitch
se vante d’avoir entretenu une relation de longue date avec Keith Haring. Selon
son site web, <a href="http://www.deitch.com/gallery/about.html" target="_blank">www.deitch.com/gallery/about.html</a>,
il connaissait ce dernier depuis 1980 et est devenu le représentant exclusif de
l’artiste et de ses biens. Toujours est-il,<span>
</span>bien qu’il soit une autorité respectée concernant l’œuvre d’Haring et le
directeur d’une prestigieuse institution , Deitch ne peut apparemment pas faire
la distinction entre une pièce réalisée par Haring seul et une autre, coproduite
par le duo Haring/ Ortiz. Pourquoi ? </span></div>
<div class="ecxMsoNormal" style="text-align: justify;">
<br /></div>
<div class="ecxMsoNormal" style="text-align: justify;">
<span>Angel Ortiz, alias LA II , est-il invisible car
portoricain ? <span>Ce refus de lui inscrire une
place dans l’histoire de l’Art est-il le signe flagrant du classicisme et de
l’élitisme ? Angel Ortiz fait-il trop « ghetto » pour les cénacles
petit bourgeois ? Quelles véritables raisons justifient ce mépris flagrant
à l’égard de l’intégrité historique concernant l’attribution et la provenance
de l’œuvre de Keith Haring ? </span></span></div>
<div class="ecxMsoNormal" style="text-align: justify;">
<span>Comme de nombreux artistes, talentueux<span>
et authentiques, le style d’Ortiz est facile à identifier. Son trait si personnel
constitue la signature visuelle de son travail, sans parler des nombreux
« tags » qui pullulent explicitement sur chacune de ses œuvres.
N’importe qui (sauf peut-être un critique d’Art aguerri comme Deitch) pourrait
certifier de la contribution créative d’Ortiz. Les inscriptions « LA
II », « TNS » et « LA ROCK » figurent distinctement
sur des pièces qui sont néanmoins attribuées<span> seulement
</span>à Haring. </span></span></div>
<div class="ecxMsoNormal" style="text-align: justify;">
<br /></div>
<div class="ecxMsoNormal" style="text-align: justify;">
<span>Pourriez-vous imaginer combien il
serait démoralisant que votre œuvre soit montrée au musée, dans des collections
privées, reproduites dans des ouvrages d’art et étudiée en classe, sans qu’aucun
crédit ne vous soit accordé ? C’est pourtant le destin d’Angel Ortiz.<span> </span>Il est aujourd’hui temps pour le
directeur du MOCA Jeffrey Deitch, ponte du monde de l’Art aux Etats-Unis, de rétablir
une fois pour toutes la vérité. </span></div>
<div class="ecxMsoNormal" style="text-align: justify;">
<br /></div>
<div class="ecxMsoNormal" style="text-align: justify;">
<span><b>Source :</b> </span><strong>THE VILLAGER, New York, Volume 80, Number 40, March 3 - 9, 2011</strong></div>
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<strong>Trad : Laeti</strong></div>Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-45813640282723217632012-04-29T17:57:00.001-07:002012-04-29T17:57:09.244-07:00David Lynch - The Angriest Dog in the World<div class="separator" style="clear: both; text-align: center;">
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" <i>The Angriest Dog in the World </i>strip came about when I was working on <i>Eraserhead</i>.
I drew a little dog. And it looked angry. And I started looking at it
and thinking about it, and I wondered why it was so angry.</div>
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<br /></div>
<div style="text-align: justify;">
And
then I did a four-block strip with the dog never moving- three panels
were set in the day anyone was at night. So there's passage of time, but
the dog never moves. And it struck me that it's the environment that's
causing this anger- it's what's going on in the environment. He hears
things coming from the house. Or something happens on the other side of
the fence, or some kind of eather condition.</div>
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It
finally boiled down more to what he hears from inside the house. And
that seemed like an interesting concept. That it would just be balloons
of dialogue from within the house with a dog outside. And what was said
in the balloons might conjure a laugh. </div>
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<br /></div>
<div style="text-align: justify;">
The
L.A Weekly wanted to publish it. So they published it for many years.
After a couple of years, it was in the Baltimore Sun as well. Every
Monday I had to come up with what to say. Then I would phone it in. I
wouldn't always do the lettering and sometimes I didn't like the way the
lettering looked, so toward the end I did some of the lettering again.</div>
<div style="text-align: justify;">
The
editor who had taken on the cartoon went off to other paper partway
through the run, and I had different editors. Toward the end of the nine
years, the same editor who had taken it on came back to the paper. And
he asked me not to do it anymore. It had run its course. "</div>
<br />
David Lynch , <i>Catching the Big Fish</i> .<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKMqQKmlU-7BoMHsjv6gRQTeDKnqhG_OajbaY8rlezexATyO0cmWC-gcHbc0wyei6rfafrqVs2oPrJ1JL4FlPyEhkll1wqsg7fUNKkiY8LYLHh5p2XWuNhLM1NeC-CfAbxvov9q10ux2Q/s1600/dog4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="122" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKMqQKmlU-7BoMHsjv6gRQTeDKnqhG_OajbaY8rlezexATyO0cmWC-gcHbc0wyei6rfafrqVs2oPrJ1JL4FlPyEhkll1wqsg7fUNKkiY8LYLHh5p2XWuNhLM1NeC-CfAbxvov9q10ux2Q/s640/dog4.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8x-lHdVkX_1FBCCM0tKghwtsHUAEg17ZQND2s4vwKmA6rGZ2pGGgU-CPJO5SVZeLgXoouLmeDf36NKZo_LFc82iCoLNyzH9g63zjS3qA99t0otZX9RyDZVKKn3Uj4x9Mxk_xOCy2GAlg/s1600/dog8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8x-lHdVkX_1FBCCM0tKghwtsHUAEg17ZQND2s4vwKmA6rGZ2pGGgU-CPJO5SVZeLgXoouLmeDf36NKZo_LFc82iCoLNyzH9g63zjS3qA99t0otZX9RyDZVKKn3Uj4x9Mxk_xOCy2GAlg/s640/dog8.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM0c5rB96DtnkkuR9EjJvG64849RTcDdQAZgGP2rEP7O1_MXBJiGeYdUfxNn9Q_zUVBiYOy7ZoH0eL2HFLOyXYbEoi7OTMLr3YVU1zNBMwF8JLUV_pqK3IPLEcoGg0e-JsIKdTDAQrstQ/s1600/dog10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM0c5rB96DtnkkuR9EjJvG64849RTcDdQAZgGP2rEP7O1_MXBJiGeYdUfxNn9Q_zUVBiYOy7ZoH0eL2HFLOyXYbEoi7OTMLr3YVU1zNBMwF8JLUV_pqK3IPLEcoGg0e-JsIKdTDAQrstQ/s640/dog10.jpg" width="640" /></a></div>Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-18003659695074137462012-04-26T19:56:00.001-07:002012-04-26T19:56:32.365-07:00On Elephant's grief<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMFKxFCbDD5X4rJQjRCWn8MwRCbPuccU5W0VZJ2gDy3soGJ9KaF8Z_ANhBxlSMVhwdozTltqx91Vf_tpKvyn4mD1UQYT_vPgbBkw5rz82wsol6TPv4DH-hd77HsCzgrBz1T8A7-BCWgNc/s1600/tumblr_lq9esjs4jh1qk931ho1_1280.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMFKxFCbDD5X4rJQjRCWn8MwRCbPuccU5W0VZJ2gDy3soGJ9KaF8Z_ANhBxlSMVhwdozTltqx91Vf_tpKvyn4mD1UQYT_vPgbBkw5rz82wsol6TPv4DH-hd77HsCzgrBz1T8A7-BCWgNc/s400/tumblr_lq9esjs4jh1qk931ho1_1280.jpg" width="290" /></a></div>
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"Consider a scene. On the edge of the savanna, an elephant rots. The cow had been sick for a week, stumbling, alone, over the hot plain. Ten days ago, it fell in the dust and died. Now its flesh has decomposed. Only the large skeleton recalls the mammoth's grandeur. A herd lurches near to the bones. The pack incomposed of females, all related, led by the matriarch. They'vehad no prior to contact with the dead beast.</div>
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They stand over the corpse. With theur trunks, they gently probe the bones, seizing choice remains, turning them in the sun, then dropping them. Eventually, each picks up a bone or tusk and carries it hundreds of yards away. "</div>
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<div style="text-align: justify;">
Eric G. Wilson , <i>Everyone Loves a Good TrainWreck</i>, 2012</div>
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<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/C5RiHTSXK2A" width="560"></iframe></div>Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-75032309093041811672012-04-26T10:07:00.002-07:002012-04-26T10:07:51.921-07:00T.Valentine - Daddy Long Leg - The Vampire Play at The Friars Club<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPQrhXCq3eUg4RrAceuIWVeG1fQD1YerpBGHQ4CaCDtUeD_8zj_RAbOvI0nebhkvM2z7lX1jFmq86SDi4FSLT1qcMJMnxAUCSIVX3tgxGAisdlo8i7vD_Q3uiqUooOXh2Bl-v7YU0XYug/s1600/_MG_2332.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPQrhXCq3eUg4RrAceuIWVeG1fQD1YerpBGHQ4CaCDtUeD_8zj_RAbOvI0nebhkvM2z7lX1jFmq86SDi4FSLT1qcMJMnxAUCSIVX3tgxGAisdlo8i7vD_Q3uiqUooOXh2Bl-v7YU0XYug/s320/_MG_2332.JPG" width="213" /></a></div>
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Nick Tosches </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRnVofBDjQFtsFsaCyByA2Ytr0-7dYI4K6UCSTmwp8IKqbh565BCOq6pqtVBoeGV-ni1vaERSJwJgmVwsN1QYccfXXZ0L29ypNd6aCe3xl5bPzuwAz5v1XFyfUkBW-OJVt7ItpeD1LcTc/s1600/_MG_2368.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRnVofBDjQFtsFsaCyByA2Ytr0-7dYI4K6UCSTmwp8IKqbh565BCOq6pqtVBoeGV-ni1vaERSJwJgmVwsN1QYccfXXZ0L29ypNd6aCe3xl5bPzuwAz5v1XFyfUkBW-OJVt7ItpeD1LcTc/s320/_MG_2368.JPG" width="320" /></a></div>
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T . Valentine </div>
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Coleman et son acolyte en profanateur de sepulture </div>
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<br />Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-72800993458500741492012-04-22T21:41:00.004-07:002012-04-22T21:42:59.917-07:00Weegee - Coney Island - 1944<div class="separator" style="clear: both; text-align: justify;">
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" It was after midnight and jet black. One of those nights when the moon
forgets to come out...but sweathearts like that. I took my shoes off so
as not to get sand in them and went walking in my stocking feet on the
beach, being careful not to bump into any couples. I wouldn't want to
disturb them for the world. Once in a while I would hear giggle or a
happy laugh, so I aimed my camera and took a picture in the dark using
invisible light.</div>
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It was so still. Once in a while there would be a flicker of a match lighting a cigarette. Love Making is so exhausting ... a happy kind of exhaustion ... and a cigarette gives one a chance to rest up and hear the heartbeat of one's partner . . . .</div>
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I walked nearer to the water's edge and stopped to rest against a life guard station look-out. I thought I heard a movement from above so I aimed my camera high and took a photo, thinking it was a couple who liked to be eclusive and do their love making nearer the sky. When I developed the picture, I saw that the only occupant on the look-out had been a girl looking dreamly towards the Atlantic Ocean. ...</div>
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What was she doing there among all the lovers ?... '</div>
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Weegee - <i>Nacked City </i><br />
<br />Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-50046042244807502842012-04-17T10:42:00.000-07:002012-04-17T10:42:27.571-07:00Le peintre et son double - l'étrange histoire du Portrait de Dorian Gray<div style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 20px;">Lorsqu'en 1943, le réalisateur Albert Lewin décide d'adapter le célèbre roman d'Oscar Wilde </span><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 20px;">à l'écran</span><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 20px;"> </span><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 20px;">, il se voit confronter à une difficulté majeure: quel peintre saura rendre plastiquement l'immonde métamorphose du portrait de Dorian Gray ? </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 20px;"> Ivan Le Lorraine Albright, originaire de Chicago sera désigné pour </span><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 20px;">donner un visage à l'un des personnages les plus délicieusement abjects de la Littérature</span><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 20px;">. Le style figurative </span><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 20px;">du peintre,</span><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 20px;"> tourmenté et anxiogène, s'accorde en effet parfaitement à rendre les traits corrompus du jeune Dandy. L'oeuvre maudite, dévoilée à la fin du film deviendra alors un élément clé de mise en scène, son apparition dynamitant l'univers ouaté et bourgeois dans lequel se situe l'intrigue. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 20px;">Aussi curieux que cela puisse paraitre , c'est à Malvin Albright, le frère jumeau d'Ivan, autant dire son double, à qui sera confier </span><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 20px;">au départ l</span><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 20px;">a version classique du portrait de Dorian Gray. Si Albert Lewin changera finalement d'avis au dernier moment, confiant cette tache à un autre artiste , le peintre portugais Henrique Medina, il demandera aux jumeaux Albright de s'afficher ensemble</span><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 20px;"> autour de la toile de Malvin, celle qui ne figure pas dans le film, </span><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 20px;">l</span><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 20px;">ors d'un reportage photographique réalisé par<i> Life Magazine.</i> </span></div>
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Les Jumeaux Albright et le premier portait de Dorian Gray</div>
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Les Jumeaux Albright et le mannequin ayant servi de modèle au monstrueux portrait.</div>
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Le visage de Dorian Gray , dans la version de Medina</div>
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Premieres transformations </div>
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Ivan Albright - Le portrait de Dorian Gray </div>
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Celle-ci fut offerte par le peintre à l' Art Institut of Chicago en 1977</div>
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<span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: medium;"><span class="Apple-style-span" style="font-size: 14px; line-height: 20px;"><br /></span></span></div>Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-77454218821711934152012-04-12T08:34:00.002-07:002012-04-12T08:34:27.194-07:00Shigeo Fukada - Shadow Sculptures - 1982/1988<div class="separator" style="clear: both; text-align: center;">
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The Kiss of Death</div>
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The Original Spinners</div>
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<br />Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-18789975449884696302012-04-11T13:59:00.001-07:002012-04-11T13:59:29.611-07:00August Sander - The Wife of painter Peter Abelen - 1926<div class="separator" style="clear: both; text-align: center;">
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<br />Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-38800574423418517092012-04-10T16:47:00.000-07:002012-04-10T16:47:18.599-07:00Grus Americanus - Cindy Sherman , femme-proie en diorama<div style="text-align: justify;">
Rétrospective de Cindy Sherman au MoMA : Au dernière étage de l'institution new-yorkaise, Janus et ces mille masques déploie sur les cloisons du musée les facettes d'un visage photographié sous toutes les coutures. Bien qu'il se démultiplie à l'infini, le minois de l'artiste américaine reste une énigme fardée et impénétrable que trente ans de carrière n'auront fait qu'étoffer. Une fois l'identité de l'artiste dissoute, la réalité physionomique révèle la féminité dans toute sa complexité, parfois sublimée, souvant parodique, virant sans remords vers le grotesque. </div>
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Moi qui pensait bien connaitre l'oeuvre de Sherman , j'ai été désarçonné en apprenant que l'univers hystérique de la mode avait fait appel à ces talents. Sherman a en effet réaliser de nombreux clichés publicitaires destinés à finir dans des magazines comme Harper's Bazaar , Vogue ou Cosmopolitan. Il y a là la trace d'un parti-pris incongru mais judicieux venant des marques de prêt-à-porter qui ont choisi pour promouvoir leur garde-robe, un caméléon femelle capable de se muter en tous archétype féminin, même les plus dérangeant. <br />
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Une seule chose est sur : pas de compromission possible, Sherman a, dans ces séries comme dans les autres , un contrôle drastique sur son image et il n'est pas possible de lui imposer de quelconque figure de style. De la même façon, les atours qui l'habillent ne sont qu'un point de départ autour duquel s'édifie la trame narrative de l'image et ne constitue pas une entrave à sa théâtralité. </div>
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Parmi toutes ces mises en scène, l'une d'entre elle à retenu mon attention. La jeune femme s'y représente en pied, recouverte d'une cape de plumes blanches, dans un décor plutôt ambigüe, à la fois naturel et grossièrement fabriqué. Son air craintif et retenu tranche avec l'exubérance qu'elle affiche parfois, une attitude austère reprise par la pâleur de l'image qui dénote de son amour traditionnelle pour la couleur.</div>
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Ce type de composition , Sherman l'empreinte au diorama, un dispositif de présentation que l'on retrouve d'ordinaire dans les musées d'histoire naturel américain, notamment à New York et Chicago. Dans ce système muséographique, les animaux naturalisés sont mise en scène dans un décor représentant leur habitat naturel, reconstitué en trompe l'oeil sur un panorama peint. Sur cette image , Sherman donc détourne l'esthétique d'un système de présentation à but pédagogique, se métamorphosant en Grue Blanche , copiant l'attitude gracile et apeurée du plus grand oiseau du continent American et devenant une femme-proie mise à nue par les regards des fashionistas avides de papier glacé.</div>
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Grues Blanches , Diorama du Museum of Natural History , New York.Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-60904799262889489272012-04-10T16:15:00.001-07:002012-04-10T16:16:14.153-07:00Anna Coleman Ladd et les hommes sans visages<div style="text-align: justify;">
Anna Coleman Ladd , artiste et socialiste, décide à la fin du premier conflit mondiale d'utiliser ses dons pour resculpter les visage meurtris des soldats français. Recréant des prothèses réalistes et des mâchoires fantômes, l'artiste aura permit au vétérans de la Grande Guerre de retrouver un semblant de vie sociale. L'histoire raconte que beaucoup de gueules-cassés finirent projectionnistes dans les cinémas de quartier: mis à l'écart du monde dans les abysses des salles obscures, ces Quasimodos d'un autre temps évitaient alors d'effrayer la populace au contact de leur faciès ravagés par les bombardements.</div>
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<br />Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-20648460683927222232012-03-28T12:44:00.004-07:002012-03-28T12:44:56.650-07:00Eugène Atget - Naturaliste , rue des écoles - 1926<div class="separator" style="clear: both; text-align: center;">
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<br />Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-78342961425551830602012-03-22T10:56:00.002-07:002012-03-22T10:59:49.991-07:00The Pythian Temple<div class="separator" style="clear: both; text-align: justify;">
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La <i>Physian Lodge </i>fut édifiée en 1926 pour servir de lieu de culte à l'Ordre des Chevaliers de Pythias, une organisation paramaçonnique fondée durant la Guerre de Sécession. Thomas W.Lamb, surtout connu pour construit d'opulents " Movie Palaces", en conçu la façade Art Deco , un délire composite mélangeant des motifs architecturaux égyptiens , babyloniens et assyriens. </div>
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<br />Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-68922470323455299782012-03-20T17:34:00.000-07:002012-03-20T17:34:00.300-07:00Extase de la vision - Quelques abstractions géometrisantes débusquées à l'American Folk Museum<div class="separator" style="clear: both; text-align: center;">
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<br />Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-21731450516925079852012-03-20T17:22:00.001-07:002012-03-20T17:22:23.807-07:00Unlucky 13<div class="separator" style="clear: both; text-align: center;">
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Cherchez l'erreur ....Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-90871158823952083632012-03-20T16:33:00.001-07:002012-03-20T16:33:52.745-07:00Vernissage David Lynch à Tilton Gallery<div class="separator" style="clear: both; text-align: center;">
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<br />Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-32916367977593932302012-03-15T19:48:00.001-07:002012-03-15T19:54:52.974-07:00Clayton Patterson - Satan's Sinners Nomads - The Last Gang of the Lower East Side -Ca y est , j'ai enfin pu rencontrer Clayton Patterson dans ses quartiers d'Essex Street....<br />
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Autrefois nommé <i>The Outlaw Gallery, </i>le petit immeuble à deux étages renferme aujourd'hui les archives du photographe: des centaines de boites à chaussures triées par années , des kilomètres de bande magnétique ayant tout vu et tout captée, des prémices de la scène Hard-Core aux flamboyances des Dragqueens du Pyramid Club, GG Allin, Kembra Pfahler, Ron Athey et tout les autres ... Les mille et unes frénésies d'une contre-culture entropique dont nous n'avons de souvenirs qu'à travers ses archives et dont<i> Mondo New York </i>, réalisé plus tard et souvent " mis-en-scène", échouera à en restituer le magnétisme déjanté. </div>
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Dans un coin de la pièce horizontale, caché dans l'obscurité, se trouve ce gilet aux couleurs des Satan's Sinners. Voici son histoire , ou plutôt celle de son clan , racontée dans un article écrit par Patterson qui, avec Hunter S. Thompson, est dans doute le seul à avoir pu documenter intimement les anti-héros d'une Amérique dans ce qu'elle a de plus archaïque.</div>
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"<span class="Apple-style-span" style="color: #909090; font-size: 13px; line-height: 15px;">Photo by Clayton Patterson</span></div>
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<span class="Apple-style-span" style="color: white;">In an article for the Spirit in the 1980s, a masked Cochise shows a handgun and crack cocaine that he and some associates took away from a crack head who was selling near kids. Cochise took the crack and gun and threw them in the river."</span></div>
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<span class="Apple-style-span" style="color: white; font-family: georgia, 'palatino linotype', palatino, 'times new roman', times, serif; font-size: 14px; line-height: 19px;">"Documenting the streets and the people of New York City, in my case, mostly the Lower East Side, can yield rewards as well as have its drawbacks. Most of the negative incidents happen because people are high on drugs or drunk, or have something to hide, or because the people are paranoid and imagine you are working for some government authority. Or for whatever psychological reason I have never been able to figure out, the police have also been known to take great offense to being documented doing their job. But the rewards far outweigh the downside.</span></div>
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<span class="Apple-style-span" style="color: white;">In 1990 Dinkins becomes mayor of N.Y.C. In 1991 Tompkins Square Park is cleared of the homeless and closed for renovations. Then the band shell is torn down. Then “Dinkinsville” on Eighth St. burns down as cops come in to evict the lot, and the protests continued.</span></div>
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<span class="Apple-style-span" style="color: white;">One day there is a constant and aggressive ringing of my doorbell. I answer the door and standing there are three menacing-looking guys all wearing colors. The black and red colors look like the kind of embroidered patches a motorcycle club wears on the back of their jackets. The top rocker in black letters with a red background reads, “SATAN’S SINNERS.”</span></div>
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On the bottom rocker, in the same color scheme is “NOMADS.” The middle patch is made of a white skull with a red eye patch covering the left eye, wearing a WWII German black helmet with a red swastika in the middle. The background has an outline of flame in black. A strong image, to say the least.</div>
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<span class="Apple-style-span" style="color: white;">From the person I assumed was the leader I get the intimidating: “Yo, what’s up?” Followed by, I hear that you have been documenting people in the park and giving the information to the cops.</span></div>
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<span class="Apple-style-span" style="color: white;">I respond with, Not sure where you are getting your information from, but I tell you I shot the riot tape that helped get the night classified as a police riot. I have been arrested a bunch of times for documenting police brutality, and no, I do not work for the cops.</span></div>
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<span class="Apple-style-span" style="color: white;">I was lucky. Turns out that Cochise, the leader, was an intelligent person and he said he would get to the bottom of this. And he did.</span></div>
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<span class="Apple-style-span" style="color: white;">One of the junkie protesters by the name of Stacy, living in a squat with her Satan’s Sinner boyfriend Rocco, wanted to see me beaten up. Why Stacy was mad at me, who knows?</span></div>
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<span class="Apple-style-span" style="color: white;">I discovered that the Satan’s Sinners had no connection to motorcycles, but were an L.E.S. street gang. And they were the last of the L.E.S. classic street gangs. Spider, who shows up in my ’88 Tompkins Square police riot tape, is a member of “Tent City” and is an associate member of the Sinners. Another gang member, Mantis, also lived in T.S.P. and was a member of Tent City, which is why Cochise had a Tent City button on his jacket.</span></div>
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<span class="Apple-style-span" style="color: white;">As far as people go, these guys did not scare me, since I grew up in a tough working-class neighborhood. I left home between grade 9 and 10. I had been homeless and was a high school dropout, so talking to these guys was not a big stretch for me.</span></div>
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<span class="Apple-style-span" style="color: white;">The blessing that came out of this initial confrontation was truth trumped the lies and Cochise realized Stacy was lying. When the drama died down, I found out that the gang’s clubhouse was in a casita (a small shack), in a lot, which extended between Third St. and Fourth St., between Avenues C and D. This was the last of a long tradition of street gangs on the L.E.S.</span></div>
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<span class="Apple-style-span" style="color: white;">Turns out that Cochise and I became friends, which meant that I was able to document the Sinners. I was given unlimited access. And in return, I did what I could to help them with whatever useful assets I could provide. After I learned that Cochise was the person who designed the club’s colors, I knew that he was an authentic artist, so I persuaded him to get involved with painting and drawing. He produced a sizable body of artwork and I included him in some art shows in my gallery.</span></div>
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<span class="Apple-style-span" style="color: white;">The good fortune that came out of Cochise producing art is I was able to intrigue Herbert (Bert) Waide Hemphill, Jr., to look at Cochise’s work. Bert was one of the founding members of the Folk Art Museum in N.YC. I had made Bert a Clayton cap, an embroidered jacket back and had documented his story on video and in photographs. So I knew something of Bert’s discriminating taste. One day Bert and I came to visit Cochise at the clubhouse, and Bert ended up purchasing some of Cochise’s work. When Bert passed, his prized collection ended up in museums.</span></div>
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<span class="Apple-style-span" style="color: white;">Since the Sinners were the last street gang on the L.E.S. and there are people seriously interested in the history of N.Y.C. street gangs, and the L.E.S. gangs have been so overlooked, I wanted to get them as much exposure as possible. I introduced a few of the members — including Heavy, Mantis, Manny and Cochise — to Flo Kennedy and she interviewed them for her TV show. At this time I was connected to the Spirit newspaper, and a reporter did a story on the club. A reporter for Channel 9 news interviewed the Sinners. Since I documented tattoos and had a connection to Outlaw Biker magazine, I got a writer from the mag do a story on the gang. I included them in one of my “Clayton Presents” M.N.N. public-access TV shows. Angel, one of the members, worked as a custodian for the Cooper Square Committee. And both he and Manny were acoustic guitar players and singers. I have an especially poignant moment in one of the videos taken at “Sucker Hole” — the old band shell at Grand St. on the F.D.R. Drive — where Manny sings “Pardon Maria.”</span></div>
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<span class="Apple-style-span" style="color: white;">The gang was interested in tattoos. Most of the tattoos they had were done by hand poking. Cochise and Heavy wanted a professional tattoo done with modern electric equipment. Since I was the president of the Tattoo Society of N.Y., I brought them to a club meeting and introduced them to artists. This was during a period when tattoos were illegal in N.Y.C., and it was an underground activity. The club was responsible for incubating the N.Y.C. generation that broke out in the early ’90s. One of the top artists did Satan’s Sinner tattoos on Cochise and Heavy. Cochise in turn gave me a handmade prison tattoo machine for my Outlaw Art Museum collection.</span></div>
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<span class="Apple-style-span" style="color: white;">The Sinners hold down an especially important section in the Clayton archives, and many productive things happened during that period. The downside, the dark and evil side came out when Cochise drank a belly full of hard liquor. For some drinkers, Jack Daniels can come on like liquid crack. One especially dark and dangerous night, Cochise and another member, for all intents and purposes, killed two members. However, they lived, and Cochise and Heavy were sent to prison. Heavy is still locked up, and recently, after 18 years, Cochise came out.</span></div>
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<span class="Apple-style-span" style="color: white;">In jail Cochise turned his life around. He did a four-year apprenticeship and got his journeyperson’s papers as an offset lithographic press operator. Now that he is out, he wants to be a guidance councilor for the youth who are at risk at getting into the lifestyle. There are no more street gangs on the L.E.S., but they have been replaced by different kinds of associations, like the Bloods, the Crips and the Latin Kings, which can lead to going to prison and are national rather than just neighborhood. My interest is that Cochise continues making his art, since I would like to show his new work, and my hope is that he will write a book about L.E.S. street gangs. I would like to help him with this book project."</span></div>
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<span class="Apple-style-span" style="color: white;">source : http://www.thevillager.com/?p=2286</span></div>
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</div>Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-482377311653066642012-03-13T16:45:00.000-07:002012-03-13T16:45:38.810-07:00Blackgang Chine Bazaar - La baleine de l'Ile de Wight - 1842<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Se prendre pour Jonas en achetant de la vaisselle: une brillante id<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', -webkit-fantasy; white-space: pre;">é<span class="Apple-style-span" style="font-family: Times; white-space: normal;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">e d'Alexender Dabell qui m<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', -webkit-fantasy; white-space: pre;">é<span class="Apple-style-span" style="white-space: normal;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">tamorphosa la boutique de son parc d'attractions en une experience de r<span class="Apple-style-span" style="white-space: pre;">é</span>gression digestive </span><span class="Apple-style-span" style="white-space: pre;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">inégalable.</span></span></span></span></span></span></span></span></div>
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<br /></div>Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-9405770450031994132012-03-11T16:01:00.002-07:002012-03-11T16:01:42.556-07:00Television Taboos<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkEHPzlj0RSgjA_i2xae2_Cli4nod-Q_QclyjWhlYd44KtW0YLmxv294QPjZxitPI2l82KkZthMyLRszjfSVvNH2oAz5StTj68Fi0AIck8dnw9HKuLwvnoTofVqSxOE_iWxdwrRJoq0fE/s1600/13-520x676.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkEHPzlj0RSgjA_i2xae2_Cli4nod-Q_QclyjWhlYd44KtW0YLmxv294QPjZxitPI2l82KkZthMyLRszjfSVvNH2oAz5StTj68Fi0AIck8dnw9HKuLwvnoTofVqSxOE_iWxdwrRJoq0fE/s400/13-520x676.jpg" width="307" /></a></div>
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Via : http://www.retronaut.co/2012/03/television-taboos-1949/</div>
<br />Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-59350367714097261442012-03-11T13:20:00.003-07:002012-03-11T13:22:05.032-07:00Billy's Antiques and Props - Dernières agapes chez l'antiquaire le plus célèbre du Lower East Side<div class="separator" style="clear: both; text-align: center;">
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Vendredi dernier, des new-yorkais joyeusement rassemblés autour de Billy Leroy, ont enterrés les dernières subsistances du vieux Bowery. <i>Billy's Antiques and Props</i>, la célèbre tente kaki de Houston Street sera démantelée le lendemain après midi, mettant un terme à plus de trente ans d'existence et parachevant à la même occasion la vision aseptique d'un quartier en pleine <i>yuppification.</i> </div>
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Sans l'amoncellement d'antiquités qui l'occupait habituellement, le chapiteau a un air de coquille de noix vide. Fort heureusement ce soir là , une foule hétéroclyte, magnétisé par l'idée de vivre un moment historique , a remplacé les trésors sans âges que Billy brocantait contre des euros ( oui , chez Billy, c'était Euro Only). Clients, curieux, artistes et vieux roublards du quartier, les héros ordinaires et si accessibles d'un New York mythique et presque anéanti , tous réunis pour une mise en bière qui sera sans aucun doute la plus Rock'n'Roll de l'année. </div>
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Billy Leroy</div>
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Un inconnu plein de ressources </div>
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Clayton Patterson en train de me prendre en photo</div>
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Lorraine Leckie and her Demons</div>
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Lorraine et Whitney Ward</div>
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Joe Coleman en pleine prêche sur le vieux New York</div>
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The Nacked Heros</div>
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</div>Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-51725094809647981542012-03-10T14:56:00.003-08:002012-03-10T14:56:53.953-08:00Le troisieme oeil de Bill Durks<br />
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" William Durks, the ''Two-faced Man", enhanced his split face to create an alternative sideshow identity and thus enable him to continue on the same show route with fresh biling. Durks, who had an eye and nostril on either side of growth in the center of his face, later enhanced the effect; he used make-up to add an extra central "eye"( and two more "nostrils"), becoming the " Man with three eye".</div>
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Bobby Reynolds (2001) recalls that when he solicited Bill Durks to perform in the sideshows at the Flemington, New Jersey fair "he was a janitor in his church and they were giving him thirty-five dollars a week and he was sleeping in the basement somewhere."Later , when Durks used a little white makeup to create a third eye, Bobby had a better idea: "I litteraly wanted to have a plastic surgeon a real eye in there, but he wouldn't go for it. And I said for two hundred dollars more I could have it wink, you know. But he wasn't going for the plastic surgeon crap."</div>
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Joe Nickell, <i>Secrets of the Sideshows, </i>Kentucky Press,<i> </i>2005</div>Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-63306966929732313232012-03-08T16:26:00.002-08:002012-03-08T16:26:39.736-08:00Ivan le Terrible , meurtrier de son fils - IIya Repine - 1885<div class="separator" style="clear: both; text-align: center;">
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<br />Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-24321285257463246682012-03-07T14:52:00.002-08:002012-03-07T14:53:42.158-08:00- Wolcott's Instant Pain "Annihilator" -<div class="separator" style="clear: both; text-align: center;">
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Migraine , sors de ce corps !</div>
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<br />Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-72302493358286061192012-03-07T13:43:00.002-08:002012-03-07T13:43:51.473-08:00Jonathan Shaw tatouant Joe Coleman - vers 1990<div class="separator" style="clear: both; text-align: center;">
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Une image prise par Clayton Patterson, l'oeil perçant du Lower East Side qui documente depuis plus de vingts cinq ans la vie quotidienne du downtown Manhattan, bastion des insurgés qui vit fleurir autant de révolutions culturelles que de violences policière immodérés. <div>
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<br /></div>Laetitiahttp://www.blogger.com/profile/11408017169657940621noreply@blogger.com0tag:blogger.com,1999:blog-1268374813015132545.post-73172581340651390252012-03-06T10:45:00.003-08:002012-03-06T10:51:58.307-08:00Laetitia's demented scrapbook IV<br />
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Photographie trouvée aux puces de l'Avenue A.</div>
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" Je ne vois pas la biche pendue dans la fôret "</div>
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...Ou comment je n'ai pu m'empecher de retrouver dans les yeux clos d'une femme posant à coté d'un trophée de chasse , ceux des surréalistes du premier Manifeste encerclant leur proie fantasmatique.</div>
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