Paolo Roversi is one of those photographers that tends to frustrate you not because he is bad, but because he is do damn good. Roversi has been responsible for some of the most iconic imagery from Comme des Garcons and Yohji Yamamoto, and more than a few memorable portraits and fashion editorials. Along with Sarah Moon and Deborah Turbeville, he has managed to make fashion photography transporting, taking you to a place that’s quieter, more contemplative, more intimate. The frustration comes from the lack of avenues to experience his sensual, touching work. There are few books that capture his output, and there are few exhibits. In 2005, when I was just starting to write and I scarcely new his work I had a chance to review his Studio book, published by Steidl. I passed on it, and I still kick myself for it. You can now get it on Amazon, for $600.
I have a nagging suspicion that a lot of people who say they love Throbbing Gristle and Psychic TV don’t really.
Forest Swords – Crow Beak> – The Gaol Them Are Us Too – Floor Massive Attack – Rush Minute Neurosis – Belief Farah – Law of Life Tricky – Black Steel Arca – Anoche Exploded View – Orlando Surachai – Leaning into Pain Chelsea Wolfe – Spun Soundwalk Collective – My Heart is Empty Lovage…
Since the publication of his first book Vincent Van Duysen: Complete Works in 2010, the prodigious Belgian architect has been busy.
Here is a collection of songs that have impressed me one way or another over the past five years or so.
After perusing through all the recent “best albums” of the year I’ve seen being posted on various news outlets, I realized I have such a hard time finding new music because pop is considered the boundary pusher in contemporary music.
Chris Stein, the co-founder and guitarist of Blondie, was there.
The first thing you notice leafing through the new monograph of Rankin, the fashion photographer who co-founded Dazed & Confused with Jefferson Hack, and then went on to found Hunger magazine, is how uneven his work is.
My relationship to Warhol’s art has been full of tension. I used to hate it – the obviousness of it, the surface, the refusal to say something serious.
We know we are serious about what we write, but this is our annual non-serious post.