Citizen, LIGHT is TIME (2014)
"Renowned Japanese watch manufacturer CITIZEN recently unveiled a stunning installation called LIGHT is TIME at Milan Design Week. Displayed in the Triennale di Milano exhibition hall, the spectacular installation consists of 80,000 main plates (the structural bases of watches) suspended from 4,200 metal threads hooked to the ceiling. The result is a truly one-of-a-kind experience for viewers, who are enveloped in a cloud of refracting light, time frozen around them like thousands of golden rain drops." - Jenny Zhang
Birds of Prey.
Men’s Folio Singapore.
"The Untold Renaissance": Ikire Jones Spring/Summer 2014 Lookbook.
It’s all dapper hommes, suave strides and bold prints and patterns in Nigerian designer Wale Oyejide’s Spring/Summer 2014 lookbook for his brand Ikire Jones.
“This collection pays homage to 18th century textiles and tapestries while exploring the absence of persons of color in Medieval and Renaissance-era European art. Borrowing from the sampling method employed in hip hop culture, each reinvented piece tells an original narrative from the perspective of Africans who have been placed in an alien context. Through this reverse lens to the past, the present circumstances of individuals who feel displaced and alienated may also be considered.”
“Then I turned 30. I had a baby girl, and my father, after a 16-year battle with cancer, died at 56. He was someone who lived big, and the last time I saw him, when I told him I was anxious about this motherhood business, anxious that no one would ever publish my work, he replied, ‘You just have to get out of your own way.’ I had to write what I had to write. I had to stop worrying about what kind of mother I would be. I had to stop wasting time. Life is brief, but if you’re brave, it’s deep. That mask I’d been wearing—I had to take it off. I didn’t want my daughter to see it in my closet and think it was a part of every woman’s wardrobe.”
– Elissa Schappell (via digital-femme)
Hannibal’s aesthetic intentionally invokes “vanitas," both the concept and the style of painting. I especially see Hannibal’s cinematography and food porn in the work of Pieter Claesz. The cinematography leans more blue than golden, though. Appropriate in that we no longer live by candle light.
Vanitas is the old school concept of “vanity,” which is closer what we’d call “nihilism” or “futility.” 16th century Dutch still lifes were commissioned by extremely wealthy and tasteful people who wanted to show off they could afford the luxuries in the painting, but also wanted to exhibit a proper Calvinist sense of their place in the world. So, e-v-e-r-ything in these still lifes is a reminder that you will one day die. It is intentionally lush, unsettling, and evocative of death. Food is half eaten or rotting, flowers are wilted, cups are overturned, the animals wild and either dead or struggling to survive. Very Hannibal.
I particularly think the still life with dead game sub-theme in the vanitas genre captures the "things come apart"/ Second Coming feel of the show. Don’t you think?
“Lovers at the Chameleon Club, Paris 1932 began with a Brassai photograph I saw at a museum show in Washington. I was familiar with the photo, “Lesbian Couple at Le Monocle, 1932”: a portrait of two women sitting at a table in a bar, one in a sparkly evening gown, the other in drag, with short hair and a tuxedo. But the wall text said something I hadn’t known, which was that the woman in the tuxedo, a professional athlete named Violette Morris, had worked for the Gestapo during the German occupation of Paris and later been assassinated by the French Resistance.
A little research turned up an even more interesting story. Morris was an Olympic hopeful and a professional auto racer. When her license to compete as an athlete was revoked by the French government, as punishment for being a public cross-dresser, Hitler somehow got wind of it, and invited Morris to be his special guest at the 1936 Berlin Olympics. By the time she got back to France, she was not only spying for the Germans, but she was the person who told them where the Maginot Line ended: where they could breach the French defenses. During the Occupation, she did indeed work for the Nazis, and was killed by the Resistance in 1944.”
– Francine Prose. (The Photo)
New and old Zooniverse Art up on Fil Barlow’s blog!
New Zooniverse mini comix coming out soon @ Zoonitoons
The Daughter of Dawn, an 80-minute feature film, was shot in July of 1920 in the Wichita Mountains Wildlife Refuge near Lawton, southwest Oklahoma. It was unique in the annals of silent film (or talkies, for that matter) for having a cast of 300 Comanches and Kiowas who brought their own clothes, horses, tipis, everyday props and who told their story without a single reference to the United States Cavalry. It was a love story, a four-person star-crossed romance that ends with the two main characters together happily ever after. There are two buffalo hunt sequences with actual herds of buffalo being chased down by hunters on bareback just as they had done on the Plains 50 years earlier.
The male lead was played by White Parker; another featured female role was played by Wanada Parker. They were the son and daughter of the powerful Comanche chief Quanah Parker, the last of the free Plains Quahadi Comanche warriors. He never lost a battle to United States forces, but, his people sick and starving, he surrendered at Fort Sill in 1875. Quanah was the son of Comanche chief Peta Nocona and Cynthia Ann Parker, the daughter of Euro-American settlers who had grown up in the tribe after she was kidnapped as a child by the Comanches who killed her parents. She was the model for Stands With a Fist in Dances with Wolves.
You can watch the first ten minutes of the film here. It is over 90 years old, and was produced by, directed by, and stars only Native American people.