‘Photography has replaced the artist’s eye in the depiction of reality. For most people Kate exists as a photograph. It is harder to draw somebody than to take their photograph. Painting Kate was a challenge in my world, but first I wanted to prove myself in her world — the world of professional photography.’
Porcelain Kate on white background, Nick Knight, 2013.
Moss and Knight have collaborated often – but this is the photographer turning his muse into something 3D, a sculpture. Still, Moss is an angel here so reality is still a long way off
Kate Jacquard Tapestry by Chuck Close, 2007.
Close, a famously meticulous artist, turns Kate into a tapestry. All about a stripped back and natural Moss, this is a reprise – in thread – of Close’s 2003 daguerreotype portrait of her
One of the world’s best-known faces, Kate Moss has long been a favorite of Mario Testino, Bruce Weber, Juergen Teller and a legion of top fashion photographers. But her latest incarnation as a gleaming goddess provides new confirmation that she’s equally as popular with artists.
In fact, the world’s most enduring super-model has probably been portrayed more often than anyone in recent history, and an ever-growing body of art testifies to the true cultural icon she’s become.
The emergence of BritArt, which started to make its presence felt when Kate was already an international star, was certainly a major factor. Moss hung out with Damien Hirst, became pals with Tracey Emin, and at one point was said to be romantically involved with Jake Chapman. Painter Gary Hume famously portrayed Kate in 1996, and it wasn’t long before others followed suit.
In September 2003, W Magazine commissioned leading American art stars to produce their own take on Kate.
“The title of the album, in fact, indicates that music comes from a same direction: straight from my heart, because home is where the heart is”
A relationship with fellow musician Clifford Price (better known as Goldie) caused controversy for the singer, an American fan, offended by her dalliance with a black man, taped himself creating an acid bomb and sent it to her house before shooting himself in front of the camera. While the bomb, thankfully, never reached Bjork, she became extremely depressed and fled to Spain where she recorded her next album. The result, entitled Homogenic, was released in September 1997 and featured emotional, dark songs possessing sounds that had never been explored. So off the beaten path was the record that it failed to enjoy the commercial success that her last two efforts had. But it was her most personal record to-date.
The album was Björk’s first attempt to bridge the world of electronic music with more organic elements (including orchestral score and unusual applications of the human voice), and she approached Alexander McQueen to try to capture the album’s icy, otherworldly cool vibe in a cover image.“When I went to Alexander McQueen, I explained to him the person who wrote these songs — someone who was put into an impossible situation, so impossible that she had to become a warrior,” Bjork told the Chicago Sun-Times in 1998.“A warrior who had to fight not with weapons, but with love.”
Though the cover appears to be a straight illustration, Bjork actually posed for the image, photographed by Nick Knight. “I had 10 kilos of hair on my head, and special contact lenses and a manicure that prevented me from eating with my fingers, and gaffer tape around my waist and high clogs so I couldn’t walk easily,” she said. “I wanted to put all the emotion of the album into that image.”
Björk’s vocals on Homogenic range from primitive sounding screams to a traditional singing method used by Icelandic choir men, a combination of speaking and singing as illustrated in the song Unravel. Björk wanted Homogenic to have a conceptual focus on her native Iceland. In an interview for Oor, Björk explained that “in Iceland, everything revolves around nature, 24 hours a day. Earthquakes, snowstorms, rain, ice, volcanic eruptions, geysers… Very elementary and uncontrollable. But at the other hand, Iceland is incredibly modern; everything is hi-tech. The number of people owning a computer is as high as nowhere else in the world. That contradiction is also on Homogenic. The electronic beats are the rhythm, the heartbeat. The violins create the old-fashioned atmosphere, the colouring.”
“…Not only did Lady Gaga reproduce works by the artist, but she also drew inspiration from her concepts. Orlan’s entire universe of hybridizations was copied in the Born This Way album, such as giving birth to oneself, which is seen in Orlan’s photography series Orlan accouche d’elle-m’aime (ou d’elle-m’aime)”, 1964-66. The inspiration went too far.”
Orlan (born Mireille Suzanne Francette Porte) is a French artist, born May 30, 1947 in Saint-Étienne, Loire. She adopted the name Orlan in 1971, which she always writes in capital letters : “ORLAN”.
ORLAN, well-known for using her body as a tool for her art, sued Gaga for plagiarism, saying the singer has counterfeited three of her works through her Born This Way era, and especially in her Born This Way music video.
The works that are being talked about here are Bumpload, a sculpture representing ORLAN as a sort of bionic hybrid, that is, according to the artist, what inspired the Born This Way album cover.
The second work is the 1996 installation Woman with head, that has apparently been “copied” by Gaga through one of the BTW video sequences.
Finally, ORLAN pretends Gaga simply stole her life, her universe, and especially the face implants that the artist has infamously got through a surgery-performance in the 90s.
“Men were created before women. … But that doesn’t prove their superiority – rather, it proves ours, for they were born out of the lifeless earth in order that we could be born out of living flesh. And what’s so important about this priority in creation, anyway? When we are building, we lay foundations on the ground first, things of no intrinsic merit or beauty, before subsequently raising up sumptuous buildings and ornate palaces. Lowly seeds are nourished in the earth, and then later the ravishing blooms appear; lovely roses blossom forth and scented narcissi.”
Moderata Fonte, pseudonym of Modesta Pozzo (1555-1592)
The Worth of Women: Wherein Is Clearly Revealed Their Nobility and Their Superiority to Men
“The nexus of Born This Way and the soul of the record reside in this idea that you were not necessarily born in one moment. You have your entire life to birth yourself into becoming the ultimate potential vision that you see for you. Who you are when you come out of your mother’s womb is not necessarily who you will become. Born This Way says your birth is not finite, your birth is infinite.”
(talking about the meaning of Born This Way)
The first song written and recorded for the album was the title track itself which she wrote in Liverpool and Manchester, England, described by Lady Gaga as a “magical message” song. She wrote it in ten minutes and compared the process to an Immaculate Conception.
“I want to write my this-is-who-the-fuck-I-am anthem, but I don’t want it to be hidden in poetic wizardry and metaphors. I want it to be an attack, an assault on the issue because I think, especially in today’s music, everything gets kind of washy sometimes and the message gets hidden in the lyrical play. Hankering back to the early ’90s, when Madonna, En Vogue, Whitney Houston and TLC were making very empowering music for women and the gay community and all kind of disenfranchised communities, the lyrics and the melodies were very poignant and very gospel and very spiritual and I said, ‘That’s the kind of record I need to make. That’s the record that’s going to shake up the industry.’ It’s not about the track. It’s not about the production. It’s about the song. Anyone could sing Born This Way. It could’ve been anyone.”
Nick Knight directed the accompanying music video, which was inspired by painters like Salvador Dalí and Francis Bacon and their surrealistic images. Gaga is depicted as giving birth to a new race during a prologue. A series of dance sequences later, the video concludes with the view of a city populated by this race. Critics noted cultural references to the work of Madonna, Michael Jackson, Björk, late fashion designer Alexander McQueen, as well as to Greek mythology, magical realism and surrealism.
Laurieann Gibson explained the inspiration behind the video to MTV News:
“When she played it for me, it took me a while to find out the visual interpretation that I could give back to her. And so I woke up one night and I got it, and I said, ‘I got it: We have to birth a new race.’ From the gate, Gaga was like, ‘I want Nick Knight for this video. I want a visual.’ She was always birthing something visual in her head, and Nick Knight is just, well, he’s prolific but he’s so genius. It was about pushing the bar of what a music video should be and can be. […] It’s a different time; it’s a different era; there are no limits. It is a viral message. I think that there’s something in there for everyone, and that’s what’s so amazing about the video and so specific about the message.”
Released on Monday, February 28, 2011, the video begins with a brief shot of a unicorn’s silhouette in a steam-filled alley, inside a pink triangle frame. The triangle transitions to a shot of Gaga, with two opposite facing heads, inspired by Janus, the Roman god of transition and beginnings, sitting in an ornate glass throne amidst a star-filled space. As Bernard Herrmann‘s prelude to the movie Vertigo (Alfred Hitchcock, 1958) plays, Gaga tells the story of the creation of an extraterrestrial race that “bears no prejudice, no judgment, but boundless freedom.” Gaga sits in the throne, giving birth to a “new race within the race of humanity.” She explains that this was followed by the birth of evil, due to which Gaga splits into two opposing forces of good and evil. Her new half gives birth to a machine gun and fires it. The prologue concludes with Gaga questioning, “How can I protect something so perfect, without evil?”
The video featured full-bodied tattooed model Rick Genest (Rico), better known by his stage name Zombie Boy. Gaga painted her face in a similar way to Genest, in one of the main series of sequences. She said that the sequences displayed the fact that she would not allow society or critics to dictate her sense of beauty. “I tell you what I think is beauty, and hence the scene was of me and Rico defining ourselves in artistic way and not relying on society to dictate it,” she added. The costumes for the video were designed by Nicola Formichetti, who blogged about the various designer pieces shown in it. In the opening sequence of the video, Gaga wore a head accessory by Alexis Bittar, a diamond neckpiece by Erickson Beamon with earrings by Pamela Love, and a stained-glass dress by Petra Storrs. Finger rings were provided by Erickson Beamon and chiffon clothes by Thierry Mugler. For the skeletons sequences, both she and Rico wore tuxedos by Mugler while the slime during the orgy scenes were courtesy of Bart Hess. For her Michael Jackson impression in the alley at the video’s end, Gaga wore shirt and pants by Haus of Gaga, shoes by Natacha Marro, a Billykirk belt and LaCrasia gloves.
“The vision is of me in an endless journey. I am a vehicle. I am a vehicle for all of the ideas. And I’m not riding away or towards anything, I’m just in endless state of creativity.”
On April 17. 2011, the cover art for the album was released, and featured Gaga fused into a motorcycle. Gaga’s name does not appear on the standard edition album cover, the only text is the chrome writing across the top reading the album’s name in Akzidenz-Grotesk. The expanded edition feature a closeup of Gaga’s head with her name and the album name written on the top right corner in Impact. The picture used for the cover was taken on December 14, 2010 during the same photoshoot as the Born This Way single cover.
“Visionaire first featured the designs of Lee Alexander McQueen in 1996 and since that time, he has been a continuous inspiration and a presence in Visionaire. McQueen’s special commissions are among our most treasured contributions. His daring designs and challenging ideas of fashion have consistently excited and provoked us.”
Stephen Gan, Cecilia Dean and James Kaliardos
Protected in a modernly-chic white box, the tri-annual fashion and art publication Visionaire has released its tribute to the life and work of late fashion designer and icon Lee Alexander McQueen. The issue includes a collection of photographs by Nick Knight, Lady Gaga, Steven Klein, Steven Meisel, Inez van Lamsweerde & Vinoodh Matadin, Mario Testino, Mario Sorrenti and more, each printed on a piece of pulp paper embedded with wildflower seeds that will actually blossom if you plant them, water them and give them enough sun. However, with its striking images and homage to a true fashion legacy, we don’t intend to plant the pages anytime soon. Plus, the case features a metalized brocade detail from the designer’s final collection. All in all, a very romantic collector’s piece.
Several years before issue 58 came to be (2003), Alexander “Lee” McQueen came to the Visionaire office to discuss collaborating on an issue that ultimately never happened. One day, the staff was discussing a potential issue printed on seeded paper, and the next day, news came that McQueen, one of the most brilliant creative minds of our time, had passed away. The team took this as a sign and dedicated SPIRIT to him. The issue set out to commemorate McQueen’s life and career by publishing the imagery that had defined it.
“God makes all things good; man meddles with them and they become evil.”
A beautiful, pure-hearted young woman, Maleficent, has an idyllic life growing up in a peaceable forest kingdom, until one day when an invading army threatens the harmony of the land. Maleficent rises to be the land’s fiercest protector, but she ultimately suffers a ruthless betrayal – an act that begins to turn her pure heart to stone. Bent on revenge, Maleficent faces a battle with the invading king’s successor and, as a result, places a curse upon his newborn infant Aurora. As the child grows, Maleficent realizes that Aurora holds the key to peace in the kingdom – and perhaps to Maleficent’s true happiness as well.
On May 12, 2009, it was revealed that Brad Bird was developing a live-action motion picture based on Walt Disney‘s Sleeping Beauty (Clyde Geronimi, Les Clark, Eric Larson, and Wolfgang Reitherman, 1959), retold from the point of view of Maleficent with Angelina Jolie starring as the eponymous character. In January 2010, it was rumored that Tim Burton was to direct the film. Reports surfaced online in May 2011 stating that Burton had left the project to focus on his other upcoming projects; Disney began to look for a replacement director, with David Yates being cited as a potential candidate due to his experience with the fantasy genre, having directed the final four Harry Potter films. On January 6, 2012, Disney announced that Robert Stromberg would direct the film.
Maleficent (2014) marks the directorial debut of Robert Stromberg after serving as a visual effects supervisor on numerous films, including Master and Commander: The Far Side of the World (Peter Weir, 2003), and more significantly, as a production designer of Avatar (James Cameron, 2009), Alice in Wonderland (Tim Burton, 2010), and Oz the Great and Powerful (Sam Raimi, 2013); the first two films earned him consecutive Academy Awards for Best Production Design.
Angelina Jolie also said that “having a director (Robert Stromberg) coming from the world of production design really helped pull me into the fairy tale world. The film is beautiful but also has a sexy, dark edge because the story is coming from the point of view of a villain.”
Angelina Jolie worked very closely with Anna B. Sheppard,the costume designer and make-up department to develop Maleficent’s menacing look. Disney executives objected, hoping to take advantage of Jolie’s beauty in marketing the film, but the actress insisted that the character maintain the scarier look of the animated incarnation. Maleficent’s prosthetics and make-up were inspired by singer Lady Gaga, particularly on her Born This Way album cover.
Angelina Jolie based her character’s speech and accent in homage of the original Sleeping Beauty voice actor Eleanor Audley. Her laughter in the film was also based on the best variation she tried in front of her children and chosen by them.
Angelina Jolie was definitely interested to be in the movie to begin with. She repeatedly stated it was because 1.) she grew up on Disney movies as a child, especially Sleeping Beauty (1959); she was quite fond of the character Maleficent: “Since I was a little girl, Maleficent was always my favorite,” Jolie said. “I was terrified of her, but I was also drawn to her. I wanted to know more about her. She had this elegance and grace, yet she was wonderfully, deliciously cruel,” 2.) she wanted to a movie in which her children can go see her in, as well as the fact that her children really also wanted her to be in the movie, 3.) the beauty, warmth, complexity, and strong intelligence of the script, and 4.) she was very impressed with Maleficent’s characterization for this film. In fact, Jolie also served as an executive producer on the film.
Maleficent marked the first time that Elle Fanning has appeared in a film opposite Angelina Jolie, after starring opposite Brad Pitt, Jolie’s fiancé, in The Curious Case of Benjamin Button (David Fincher, 2008).
In 2003 Vogue UK did a photo-shoot by Nick Knight with Kate Moss styled in David Bowie’s old stage clothes. Red platform boots from the 1973 ‘Aladdin Sane’ tour. The kimono top and shorts were done by Kansai Yamamoto, also in 1973
“I’d been thrilled having Kennedy as president; he was handsome, young, smart–but it didn’t bother me that much that he was dead. What bothered me was the way the television and radio were programming everybody to feel so sad.”
After President John Fitzgerald Kennedy was assassinated in 1963, Andy Warhol began his series of “Jackie paintings” in response to the media blitz that followed the incident. 16 Jackies is a grid of four different images based on news photos of Jacqueline Kennedy from international press coverage of JFK’s death.
According to Christopher Knight (Los Angeles Times art critic):
For art, the 1963 murder of a president became America’s Guernica.
In style, emotional tenor and generation, Pablo Picasso and Andy Warhol were very different artists. But both made paintings that spoke to an epic social trauma of their day. And both used the same motif — a weeping woman — to focus the unfathomable event.
Over three hours in the afternoon of April 26, 1937, German bombers pummeled an ancient Basque village in Northern Spain with a hundred thousand pounds of high-explosive and incendiary bombs, reducing the town of Guernica to smoking rubble. Shock waves spread across Europe.
Picasso, then 55 and a mature artist, went to work. In a few weeks’ time he completed a big painting that would become an anguished modern icon of anti-war protest….
The Weeping Woman,Pablo Picasso, 1937.
This painting was the final and most elaborate of the Weeping Woman series, which is regarded as a thematic continuation of the tragedy depicted in Picasso’s epic painting Guernica. In focusing on the image of a woman crying, the artist was no longer painting the effects of the Spanish Civil War directly, but rather referring to a singular universal image of suffering.
…Warhol’s weeping women are cold, Picasso’s are hot. Picasso’s boil over, Warhol’s remain numb. Picasso’s are violently intimate, Warhol’s passively remote. Picasso prized individual heroics, Warhol disappeared into the crowd..
But like Picasso, Warhol understood that art can function as a powerful social lever. His emotionally neutered Jackie portraits used American popular culture as a weapon, not a target. Warhol’s icy weeping woman put Picasso squarely in the cross hairs — Picasso and all the accumulated mythologies and pretensions of established Modern art..
The younger artist had no choice. For as long as art’s old aesthetic machismo held sway, there simply was no room for the likes of him. So, with the deliberateness of an assassin, Warhol coolly killed it off.
Dum vivimus vivamus is a Latin phrase that means “While we live, let us live”. It is often taken to be an epicurean declaration.
Emily Dickinson once used it in a letter written to William Howland:
“Sic transit gloria mundi*
How doth the busy bee,
Dum vivimus vivamus,
I stay my enemy!”
*Sic transit gloria mundi is a Latin phrase that means “Thus passes the glory of the world.” It has been interpreted as “Worldly things are fleeting.” It is possibly an adaptation of a phrase in Thomas à Kempis‘s 1418 work The Imitation of Christ: “O quam cito transit gloria mundi” (“How quickly the glory of the world passes away”).
The Duck universe also called the Donald Duck universe, Duckburg or Scrooge McDuck universe) is a fictional universe where Disney cartoon characters Donald Duck and Scrooge McDuck live. It is a spin off of the older Mickey Mouse universe, yet has become much more extensive. “Duck universe” is a term used by fans and is not an official part of the Disney lexicon.
Duck, especially the pressed duck, is the specialty (Canard à la presse, Caneton à la presse, Caneton Tour d’Argent). In 1890 Frederic, one of La Tour d’Argent’s owners, had the idea to enumerate each duck served at the restaurant. Edward VII ate number 328 in 1890. Humphrey Bogart and Lauren Bacall shared number 280.101 in 1951…
Ducks Unlimited (DU) is an international nonprofit organization dedicated to the conservation of wetlands and associated upland habitats for waterfowl, other wildlife, and people. Ducks Unlimited was incorporated by Joseph Knapp, E. H. Low and Robert Winthrop on January 29, 1937, in Washington, D.C.
Björk‘s artistic incarnations seem very intentional, well thought out. Vespertine, her fifth studio album was released on August 27, 2001. The initial title for the album was Domestika. A song titled Domestica (originally titled Lost Keys) was included as a B-side on the Pagan Poetry single. Björk has stated that she decided to call the album Vespertine instead of Domestika because the new title dealt with the prayer aspect of the album, which she wanted to note, while she felt that calling the album Domestika would have been “too much”, because Björk felt that the songs on the album were already “domestic” enough. She felt the need to call the album after another aspect of itself. The word Vespertine also relates to nighttime, for example things that come out at night, and the title was also partly inspired by that.
Although one of Vespertine’s themes is the night time, the frontal artwork designed by studio M/M Paris and photographed by Inez van Lamsweerde & Vinoodh Matadin highlights a sunny time. It might be because the song, Sun in my Mouth, was a single from that album. Björk adapted the lyrics of Sun in My Mouth from the poem I Will Wade Out by E. E. Cummings. The word “sea-girls” is changed to “seagulls”, and the last few lines of the poem are omitted.
The recipe for success was ready to be mixed: ornithology, poetry and Greek mythology. Björk used metaphors taken from nature to describe Vespertine: “is little insects rising from the ashes.”
The ancient Greeks thought that ποίησις (poiesis), with a broad meaning of a “making”, was also the “joint of everything”, the amalgamating element of the world. So, maybe that was the ideal concept for Björk.
On the cover of Vespertine she can be seen wearing the swan dress designed by Marjan Pejoski that caused a stir at the 2001 Academy Awards.
Марјан Пејоски (Маrjan Pejoski) is a Macedonian fashion designer who lives and works in Great Britain. That infamous swan dress put him on fashion’s map. Some people thought Alexander McQueen was the author of that dress due to his previous collaborations with Björk.
Promotional pictures by Inez van Lamsweerde and Vinoodh Matadin
Still from Pagan Poetry (Nick Knight, 2001) music video. She’s wearing a dress designed by Alexander McQueen. The music video “is about a woman preparing herself for marriage and for her lover”, Knight said.
Pejoski’s swan dress has a precedent. In 1935 Marlene Dietrich attended a Halloween party hosted by South African actor Basil Rathbone and his wife Ouida Bergère. It was a party to entertain movie stars. The Person You Admire The Most was the theme. Dietrich chose Leda, the mytological figure seduced by Zeus, and asked Travis Banton, a Paramount iconic costume designer, to make her dress. Elizabeth Allen was going to accompany Dietrich. Allen’s choice was out of her reach. She wore an androgynous outfit, actually a copycat from Morocco’s costumes. And Clifton Webb was disguised as Fu Manchú.
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