When I first followed Beth’s suggestion and looked over Jeremy Harris’ website, my love of portraits naturally drew me to that section of his portfolio. The style there didn’t appeal to me at all - not stylized enough for my taste. But it turns out that’s precisely what makes his photos of asylums so spot on.
With somanyphotographers using lights and Photoshop to accentuate spookiness when capturing old hospitals and decaying buildings, Jeremy’s plain, day-lit images stand apart. There is a simple honestly that allows us to not dwell on various effects, however pretty they might be, but instead reveals the heart of these spaces. The result is more brutal and attractive than one might expect.
Venus Wept: “Justice is blind and, apparently, naked.”
Antiseptic is relatively new, and over the past year I’ve watched their designs get more and more complex. Their riveted leather corsets look aggressive by themselves, but when coupled with Venus Wept Photography’s hyper lighting, the augmented sharp edges and textures show you something even more dangerous and pleasurably painful-to-wear. A stylistic joyride that weaves through 80s dystopia chic, medieval armor, medical fan lacing and many other real and imaginary places from different times, the designs owe a debt to alt-fashion predecessors AMF and Mother of London, with Antiseptic’s designers on a fast track to a voice that’s completely their own.
The San Francisco-based duo behind Antiseptic doesn’t seem to be interested in commercial manufacture, and focuses on showing off their designs on runways and in elaborate fashion shoots. Most recently, they staged a fashion show the San Francisco Fetish Ball that brought together some of my favorite models for the first time.
As a brief follow up to this recent post regarding Miss Jackson’s freakatude, let us ruminate on the April cover of BackBook magazine. Here she’s caged and dressed in latex by Polymorphe, House of Harlot, and Syren. Inside she’s snarling from behind some Very Serious headgear.
The BlackBook article describes this Matthew Rolston shoot and tells of “codpieces, feather ticklers, steel pelvic thrusters relieved of their phallic attachments, barbed cowhide whips are fanned out alongside some kind of automaton skull with a full set of human teeth and gums” here. Oh Janet.
Placid nuns with milky alien-beauty faces, glowing children with otherworldly skin conditions, and the most ordinary faces made strange by details such as a chalk-white complexion, a subtle change in proportions, overly-glassy eyes. These are the images of Russian artist Oleg Dou, who combines conventional photography with graphic rendering techniques to produce matching portraits of unsettling consistency.
Like many other good things, Oleg Dou’s art was introduced to me by Elegy Magazine. Elegy just released Issue 52, which features Alexander Hacke, Thurston Moore, Tim Burton/Johnny Depp, Nick Cave and Lisa Gerrard.
Peter Ashworth’s website just went through the first overhaul it’s had in years. It’s great to see the English photographer out and about, putting up new images on a site that looks like it’s easy to update. Above are two classic images that had a huge influence on me when I first began to do studio photography. The image of performer Lucifire with a gauze “veil” over her eyes pinned to her face by hypodermic needles will always remain, in my mind, one of the greatest fetish portraits ever taken. The image on the right, with its high contrast and clear space, was the first to show me a kind of abstracting isolation that I find crucial in producing a strong fetish image.
Below are two new works by Peter Ashwroth from a series called in excelsis. The models are Ulorin Vex and Viktorya, wearing the recognizable hairstyles of Robert Masciave. There’s a stark economy going on in his Ashworth’s older work with alt models that’s been replaced by high glam, and while I definitely enjoy these new images, I also hope to see more of the reductive, slightly-raw imagery that made such an impression on me in the past.
“The gentleman who has the pleasure of tying the final bow owns you.”
- Mr. Pearl, interview
What strikes me about fetish legend/corsetier Mr. Pearl’s images is how much he looks like a true English gentleman - and how, magically, his 18-inch corseted waist works to enhance that image, the opposite of what one might expect it to do.
Mr. Pearl grew up in South Africa and moved to London at the earliest chance after completing his military service. He spent three years in New York in the early 90s, where he did his most intimate published interview, of which there are few. Already a renowned tightlacer by this time, Pearl treated corsetry with such reverence that he insisted on precision in every aspect of his involvement with it; when his New York interviewer described him as a corsetier, he interrupted. “Forgive me,” he said. “I am a designer who employs the corset and lacings into his designs. I am not a corsetier - I have not attained that specialized knowledge. There are only about five left in the whole world now, who possess that art. I hope one day to be amongst them.”
Fast-forward to the 2000s: Mr. Pearl is a successful corsetier, commissioned by Mugler, Lacroix, Galliano and Gaultier when they need a master to produce their corset designs for the runway. Clients include Dita, Kylie Minogue and Jerry Hall. He lives in Paris, and works out an atelier behind the Notre Dame.
Despite his success, Pearl doesn’t have a flashy website. There’s no web store to offer plastic-boned corsets that bear only his name, no MySpace page and no blog. He’s known for his aversion to modern technology, and his only web interview was handwritten and transmitted by fax.
Esteemed reader Tanya Feldman says, “I love cabbage. I will do anything to spread the word about how awesome cabbage is.” To that end, she just introduced me to Chinese multidisciplinary artist Han Bing and his mischievous Walking the Cabbage (2000-2007) series.
Born in 1974 in an poverty-stricken village, Han Bing spent his childhood helping his parents farm the land and was the only student in his class afforded the chance to attend university. There he studied oil painting before moving on to less conventional mediums. His post-university work has focused on creating spontaneous, open-ended discourse that includes members of society who are often excluded or dismissed. He, like many other young Chinese artist, seems compelled to confront the dubious side effects of his nation’s obsession with urbanizing and modernizing at whatever cost.
From Bing’s website:
Walking the Cabbage (2000-2007) series of social intervention performance, video and photography works, Han Bing walks a Chinese cabbage on a leash in public places, inverting an ordinary practice to provoke debate and critical thinking. Walking the Cabbage is a playful twist on a serious subject—the way our everyday practices serve to constitute “normalcy” and our identities are often constituted by the act of claiming objects as our possessions. A quintessentially Chinese symbol of sustenance and comfort for poor Chinese turned upside down, Han Bing’s cabbage on a leash offers a visual interrogation of contemporary social values.
Christina Ricci’s been an icon of dark beauty ever since the Adams Family movie. She’s played quirky and odd her entire life, her doll-like face and dark hair the epitome of spooky charm. Despite widely publicized body issues of her past and being just over five feet tall, Christina is a wonderful and versatile model.
She seems to have finally gotten comfortable in her skin and in addition to a resurge in acting has been a subject of countless photo shoots, some of which are credited today over at foto decadent.
Christina has embraced her height, and even thinks it could one day help her play a spy. She says in her latest interview “I always figured I would be the one they send through the air vent if something happened. You know: ‘Can fit in small places’”.
Indeed, the world needs more tiny, round-headed fawns like Ricci. I love the way she radiates this colossal confidence, especially knowing that it hasn’t come easy. Together with some great photographers Cristina Ricci has created some sensual, strange and beautiful images - my favorites are showcased beyond the jump.
Don’t call them stylists - the term is “hair entertainers.” Today a hair show with a circuit of about 10 major American cities, Hair Wars began in 1991, and originates from nightclub events put on by one DJ Hump the Grinder. Today the event features some of the most multi-layered, hyper-detailed hairstyles I’ve ever seen. From haute-couture hair architecture to silly, surreal takes on everyday objects, images from this event convey artistry, humor and kitsch, all of which constantly flow into one another.
Photographer David Yellen has created a series of portraits of the hair show participants, which he published this past fall. Perhaps equally as fascinating as the hairstyles are the people wearing them. There are no fashion models here, just ordinary people having fun. They are young and old, male and female; many project the air of having been through a lot in their lifetime. There are little mysteries in each picture, such as in the image above, where the model has a visible scar on her neck. How did that happen? She could’ve hidden it with a scarf or a neckpiece (or with hair!) - but she didn’t, and the image is more powerful for it.
A good selection of images form this series can be seen on his site, and a further selection can be seen on Radar Online.
Grey pearlescent flesh winds falls across warm skin. Secrets are exchanged.
Photographer William Springfield and dedicated model Sarah showcase exquisite lines and textures of an octopus, while exploring the harsh realities of love between woman and cephalopod. Love consumes, sometimes.
Nom.
Admittedly, I’d rather see a model interact with a virile creature, not mere sushi - and I don’t mean in the hentai sense. Though these images are successful in making me hungry!
