"The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist Erik Satie."
"These short, atmospheric pieces are written in 3/4 time, with each sharing a common theme and structure. Collectively, the Gymnopédies are regarded as the precursors to modern ambient music - gentle yet somewhat eccentric pieces which, when composed, defied the classical tradition. For instance, the first few bars of Gymnopédie No. 1 consist of an alternating progression of two major seventh chords, the first on the subdominant, G, and the second on the tonic, D. This kind of harmony was almost entirely unknown at this time. The melodies of the pieces use deliberate, but mild, dissonances against the harmony, producing a piquant, melancholy effect that matches the performance instructions, which are to play each piece" "slowly", "dolorously" or "gravely".
"From the second half of the 20th century on, the Gymnopédies were often erroneously described as part of Satie's body of furniture music, perhaps due to John Cage's interpretation of them."
Reference: (2011) Gymnopedies [Online] Available at: http://en.wikipedia.org/wiki/Gymnop%C3%A9dies_(Satie) [Accessed on 20th March 2011]
Thursday, 24 March 2011
Plague
"By 1910, plague had circled the globe and established itself in rodent populations on all inhabited continents other than Australia. After 1920, however, the spread of plague was largely halted by international regulations that mandated control of rats in harbors and inspection and rat-proofing of ships. Before the third pandemic subsided, it resulted in an estimated 26 million plague cases and more than 12 million deaths, the vast majority in India. By 1950, plague outbreaks around the world had become isolated, sporadic, and manageable with modern techniques of surveillance, flea and rat control, and antimicrobial treatment of patients. From 1969 through 1993, a median of 1356 human plague cases were reported annually to the World Health Organization, with around 10 to 15 countries reporting cases each year. Plague has practically disappeared from cities and now occurs mostly in rural and semirural areas, where it is maintained in wild rodents. In the United States, the last outbreak of urban plague occurred in Los Angeles in 1924 and 1925, and human cases since then have resulted from zoonotic exposures in rural areas of western states."
"Plague, because of its pandemic history, remains one of three quarantinable diseases subject to international health regulations (the other two being cholera and yellow fever). The alarm that plague is still able to evoke was highlighted by the public panic over and exaggerated international response to reports of outbreaks of bubonic and pneumonic plague in India in 1994."
Reference: History of Plague [Online] Accessed at: http://www.manbir-online.com/diseases/plagur-history.htm [Accessed on 6th March 20011)
"Plague, because of its pandemic history, remains one of three quarantinable diseases subject to international health regulations (the other two being cholera and yellow fever). The alarm that plague is still able to evoke was highlighted by the public panic over and exaggerated international response to reports of outbreaks of bubonic and pneumonic plague in India in 1994."
Reference: History of Plague [Online] Accessed at: http://www.manbir-online.com/diseases/plagur-history.htm [Accessed on 6th March 20011)
Monday, 21 March 2011
Inflation in Germany
"At the end of WWI, there was much political instability because of the revolutions throughout Germany"
"Germany was really divided politically, socially, and economically. International Context With all the war debts, Germany had so many problems with so many countries, they had no help for themselves."
"Economic à Extreme inflation led people to blame others and do whatever they had to in order to eat.
"The Struggle for the Ruhr: France occupied the Ruhr Basin because they felt Germany was not obeying the treaty"
"Contracts and Agreements: Countries formed agreements with each other. Lost 13.1% of its territory and 10% of its population"
"These territories were rich in agricultural and mineral resources"
"Loss of Alsace-Lorrain and half of Upper Silesia disrupted some of the most important industrial and transportation systems"
"Allies had the right to confiscate all German private property in their countries. Foodstuffs had to be imported"
"Minerals previously mined in Germany now had to be imported"
"No longer export raw materials"
"Loss of their merchant fleet deprived Germany of foreign exchange that other countries paid them for their fleet services"
"Loss of the land (money) abroad decreased their profit and interest payments May, 1921"
"Called the “ultimatum” because unless Germany accepted this plan within 6 days, the Ruhr Basin would be occupied."
"This was the final payments plan which totaled war reparations at 132 billion gold marks"
"This was 3 times what Germany was capable of paying"
"Counter Revolutionàpolitical instability led people to riot and use violence as a means of control and power§Treaty of Versailles: gave Germany the sole responsibility for the war guilt and reparations"
"Counter Revolutionàpolitical instability led people to riot and use violence as a means of control and power§Treaty of Versailles: gave Germany the sole responsibility for the war guilt and reparations"
Reference: Hyperinflation (2000) [Online] Available at: <www41.homepage.villanova.edu/.../Inflation%20in%20Germany%201923. ppt> [Accessed on: 13 February 2011]
TIMELINE
1920
- Bubonic Plague in India
- First Commercial Radio Broadcast Aired
- Harlem Renaissance Begins
- League of Nations Established
- Prohibition Begins in the U.S.
- Pancho Villa Retires
- Women Granted the Right to Vote in U.S.
1921
- "Fatty" Arbuckle Scandal
- Extreme Inflation in Germany
- Irish Free State Proclaimed
- Lie Detector Invented
1922
- Insulin Discovered
- Kemal Atatürk Founds Modern Turkey
- Tomb of King Tut Discovered
- Michael Collins Killed in Ambush
- Mussolini Marches on Rome
- The Reader's Digest Published
1923
- Charleston Dance Becomes Popular
- Hitler Jailed After Failed Coup
- Ruhr Occupied by French and Belgian Forces
- Talking Movies Invented
- Teapot Dome Scandal
- Time Magazine Founded
1924
- First Olympic Winter Games
- J. Edgar Hoover Appointed FBI Director
- Leopold and Loeb Murder a Neighbor Out of Boredom
- V.I. Lenin Dies
1925
- Flapper Dresses in Style
- Hitler Publishes Mein Kampf
- The Scopes (Monkey) Trial
1926
- A.A. Milne Publishes Winnie-the-Pooh
- First Assassination Attempt on Mussolini
- Houdini Dies After Being Punched
- Robert Goddard Fires His First Liquid-Fuel Rocket
- A Woman Swims the English Channel
1927
- Babe Ruth Makes Home-Run Record
- BBC Founded
- The First Talking Movie, The Jazz Singer
- Lindbergh Flies Solo Across the Atlantic
- Sacco and Venzetti Executed
1928
- Bubble Gum Invented
- First Mickey Mouse Cartoon
- First Oxford English Dictionary Published
- Kellogg-Briand Treaty Outlaws War
- Penicillin Discovered
- Sliced Bread Invented
1929
- Byrd and Bennett Fly Over South Pole
- Car Radio Invented
- First Academy Awards
- Stock Market Crashes
- St. Valentine's Day Massacre
Reference: 1920's Timeline [Online] Available at: < http://history1900s.about.com/od/timelines/tp/1920timeline.htm> [Accessed On 5th March]
Saturday, 19 March 2011
Political and Cultural Influences on Surrealism
"One of the influences on the development of the artistic movement known as surrealism derived from the writings and thought of Sigmund Freud. Freud has a particular influence on Andre Breton, one of the leading theorists of the movement, and Salvador Dali, perhaps its best-known practitioner. Each man acknowledged the contribution of Freud and produced works citing Freud directly. Surrealism was an artistic movement with a strong political component. It was the most highly organized and tightly controlled artistic movement in this century, and its moral and philosophical leader was Andre Breton, who held the unofficial title of the Pope of Surrealism. Surrealism was also a life-style and a philosophical outlook that informed artistic expression, political action, and social life: "
"At the heart of Surrealism lay the belief that "objective chance"--by which was meant inexplicable coincidence--is central to reality, which is not an orderly system of events apprehensible by logical thought. Hence, it was believed, knowledge of true reality can be gained only through a-logical insights of the unconscious mind and these insights can only be achieved by certain (a-logical) automatic procedures (Osborne 529). "
"Surrealism did not involve on specific style but several styles, all based on the same basic tenets. Breton always remained the chief theorist of the movement, writing Surrealist manifestos and various works explaining and promoting Surrealist ideas. "
Reference: Influence of Freud on Surrealism (2007) [Online] Available at: http://www.lotsofessays.com/viewpaper/1702279.html [Accessed on: 12th march 2011].
"Surrealism is a movement in literature and art whose effective life is generally assigned the years 1924-1945 by historians. In 1924, André Breton's first Manifesto of Surrealism appeared, defining the movement in philosophical and psychological terms. Its immediate predecessor was Dada, whose nihilistic reaction to rationalism and the reigning "morality" that produced World War I cleared the way for Surrealism's positive message. (Other precursors and influences are listed below.)"
"Surrealism is often characterized only by its use of unusual, sometimes startling juxtapositions, by which it sought to trancend logic and habitual thinking to reveal deeper levels of meaning and unconscious associations. Thus it was instrumental in promoting Freudian and Jungian conceptions of the unconscious mind."
"Throughout the 1920s and '30s, the movement flourished and spread from its center in Paris to other countries. Breton controlled the group rather autocratically, annointing new members and expelling those with whom he disagreed, in an effort to maintain focus on what he conceived as the essential principals or the fundamental insight which Surrealism manifested (a conception which changed, to some extent, during his life)."
"In the early '30s the group published a periodical entitled Surrealism at the Service of the Revolution (Le Surrealisme au service de la revolution, 1930-33). Communism appealed to many intellectuals at this time and the movement flirted briefly with Moscow; but the Soviets demanded full allegiance and the subordination of art to the purposes of "the State." The surrealists sought absolute freedom and their aim was a profound psychological or spiritual revolution, not an attempt to change society on a merely political or economic level. (The full history of surrealist political involvement is quite complex and led to dissent and the formation of various factions within the movement.)"
"With the advent of World War II, many of the Parisian participants sought safety in New York, leaving Paris to the Existentialists. By the war's end in 1945, Abstract Expressionism had superseded Surrealism as the western world's most important active art movement. "Ab Ex" grew out of both the tradition of Abstraction (exemplified by Kandinsky) and the "automatic" branch of Surrealism (exemplified by Joan Miro and André Masson) with Roberto Matta and Arshile Gorky as key pivotal figures."
"But Surrealism did not die in 1945. Though the attention of the fickle art world may have shifted away, Breton continued to expound his vision until his death in 1966, and many others have continued to produce works in the surrealist spirit to the present day. The ongoing impact of Surrealism cannot be underestimated and must be granted a distinct place in the history of literature, art and philosophy."
Reference: Surrealist Writers (1996-2011) [Online] Available at http://alangullette.com/lit/surreal/ [Accessed on 1st March 2011]
"Drawing on literary, art historical and historical studies, this essay collection explores the complex encounter between culture and politics within Surrealism. The Surrealist movement was one of the first cultural movements to question explicitly the relation between culture and politics, and its attempt to fuse social and cultural revolution has been a critical factor in shaping our sense of modernity; yet few books have been published that directly address this aspect of the movement. Although the historical importance of Surrealism is beyond doubt, politics plays an ambiguous role in the movement: it indisputably pervades the work, informing its endeavours, yet it seems to evade direct articulation. This anthology addresses not only the contested ground between culture and politics within surrealism itself, and within the subsequent historical accounts of the movement, but also the broader implications of this encounter on our own sense of modernity. Its goal is to delineate the role of radical politics in shaping the historical trajectory of Surrealism by drawing on the new perspectives provided by the latest considerations of social history, gender studies and postcolonial or race studies--approaches further modulated by the theoretical, methodological and disciplinary focuses of each contributor. This approach reveals new dimensions in the work of central figures like André Breton, Joan Miró, Salvador Dalí and Hans Bellmer, the Surrealists' involvement in the politics of race and anti-colonialism, their relation to communism and anarchism, and the role of exhibitions as a site of political struggle. The volume illuminates how Surrealism played a contentious yet integral role to the development of contemporary French thought, and how it forms the background to current intellectual debates through its contribution to recent French theory. The volume represents an important contribution to the fields of cultural history, literary studies, art history and cultural theory."
Reference: Surrealism Policials and Culture [Online] Available at: http://www.litencyc.com/php/adpage.php?id=2987 [Accessed on 2nd March 2011]
"At the heart of Surrealism lay the belief that "objective chance"--by which was meant inexplicable coincidence--is central to reality, which is not an orderly system of events apprehensible by logical thought. Hence, it was believed, knowledge of true reality can be gained only through a-logical insights of the unconscious mind and these insights can only be achieved by certain (a-logical) automatic procedures (Osborne 529). "
"Surrealism did not involve on specific style but several styles, all based on the same basic tenets. Breton always remained the chief theorist of the movement, writing Surrealist manifestos and various works explaining and promoting Surrealist ideas. "
Reference: Influence of Freud on Surrealism (2007) [Online] Available at: http://www.lotsofessays.com/viewpaper/1702279.html [Accessed on: 12th march 2011].
"Surrealism is a movement in literature and art whose effective life is generally assigned the years 1924-1945 by historians. In 1924, André Breton's first Manifesto of Surrealism appeared, defining the movement in philosophical and psychological terms. Its immediate predecessor was Dada, whose nihilistic reaction to rationalism and the reigning "morality" that produced World War I cleared the way for Surrealism's positive message. (Other precursors and influences are listed below.)"
"Surrealism is often characterized only by its use of unusual, sometimes startling juxtapositions, by which it sought to trancend logic and habitual thinking to reveal deeper levels of meaning and unconscious associations. Thus it was instrumental in promoting Freudian and Jungian conceptions of the unconscious mind."
"Throughout the 1920s and '30s, the movement flourished and spread from its center in Paris to other countries. Breton controlled the group rather autocratically, annointing new members and expelling those with whom he disagreed, in an effort to maintain focus on what he conceived as the essential principals or the fundamental insight which Surrealism manifested (a conception which changed, to some extent, during his life)."
"In the early '30s the group published a periodical entitled Surrealism at the Service of the Revolution (Le Surrealisme au service de la revolution, 1930-33). Communism appealed to many intellectuals at this time and the movement flirted briefly with Moscow; but the Soviets demanded full allegiance and the subordination of art to the purposes of "the State." The surrealists sought absolute freedom and their aim was a profound psychological or spiritual revolution, not an attempt to change society on a merely political or economic level. (The full history of surrealist political involvement is quite complex and led to dissent and the formation of various factions within the movement.)"
"With the advent of World War II, many of the Parisian participants sought safety in New York, leaving Paris to the Existentialists. By the war's end in 1945, Abstract Expressionism had superseded Surrealism as the western world's most important active art movement. "Ab Ex" grew out of both the tradition of Abstraction (exemplified by Kandinsky) and the "automatic" branch of Surrealism (exemplified by Joan Miro and André Masson) with Roberto Matta and Arshile Gorky as key pivotal figures."
"But Surrealism did not die in 1945. Though the attention of the fickle art world may have shifted away, Breton continued to expound his vision until his death in 1966, and many others have continued to produce works in the surrealist spirit to the present day. The ongoing impact of Surrealism cannot be underestimated and must be granted a distinct place in the history of literature, art and philosophy."
Reference: Surrealist Writers (1996-2011) [Online] Available at http://alangullette.com/lit/surreal/ [Accessed on 1st March 2011]
"Drawing on literary, art historical and historical studies, this essay collection explores the complex encounter between culture and politics within Surrealism. The Surrealist movement was one of the first cultural movements to question explicitly the relation between culture and politics, and its attempt to fuse social and cultural revolution has been a critical factor in shaping our sense of modernity; yet few books have been published that directly address this aspect of the movement. Although the historical importance of Surrealism is beyond doubt, politics plays an ambiguous role in the movement: it indisputably pervades the work, informing its endeavours, yet it seems to evade direct articulation. This anthology addresses not only the contested ground between culture and politics within surrealism itself, and within the subsequent historical accounts of the movement, but also the broader implications of this encounter on our own sense of modernity. Its goal is to delineate the role of radical politics in shaping the historical trajectory of Surrealism by drawing on the new perspectives provided by the latest considerations of social history, gender studies and postcolonial or race studies--approaches further modulated by the theoretical, methodological and disciplinary focuses of each contributor. This approach reveals new dimensions in the work of central figures like André Breton, Joan Miró, Salvador Dalí and Hans Bellmer, the Surrealists' involvement in the politics of race and anti-colonialism, their relation to communism and anarchism, and the role of exhibitions as a site of political struggle. The volume illuminates how Surrealism played a contentious yet integral role to the development of contemporary French thought, and how it forms the background to current intellectual debates through its contribution to recent French theory. The volume represents an important contribution to the fields of cultural history, literary studies, art history and cultural theory."
Reference: Surrealism Policials and Culture [Online] Available at: http://www.litencyc.com/php/adpage.php?id=2987 [Accessed on 2nd March 2011]
Thursday, 17 March 2011
The Impact Of Surrealism
"Surrealism is known as a cultural movement originated in the early-1920s. The style of Surrealism developed by the group members is represented by the visual artworks and writings. The founders of the movement regarded the style a revolutionary movement and literary Surrealism, Surrealism in movies, Surrealism in photography and other Surrealism works is the expression of the movement philosophy. The movement became recognized all around the globe and affected various media, including the visual arts, literature, film, and music, political thought and philosophy."
"The first literary Surrealism work appeared in 1921, Les Champs Magnitiques (“Magnetic Fields”), which a result of collaboration of Andre Breton and the French poet and novelist Philippe Soupault. However, in 1919, the above mentioned Breton and Soupault, along with Aragon published automatist works and accounts of Surrealist dream in the magazine Literature. This literature gave emphasis to the poetic undercurrents.Surrealism has greatly impacted many fields. Surrealism in art is a creative act of effort to liberate imagination. The Surrealism style dynamic and as dialectic in its thought, is present in the works of the obscure poet Samuel Greenberg and the hobo writer and humourist T-Bone Slim. Clark Ashton Smith, Montague Summers, Fantomas, The Residents, Bugs Bunny, comic strips are also referred to the style. Surrealism has had an impact on radical and revolutionary politics, both directly and indirectly (the New Left of the 1960s and 1970s and the French revolt of May 1968)."
"Originated at the beginning of the 20th century Surrealism movement goes on developing. These days a lot of artists worldwide created their works being influenced the ideas and techniques of Surrealism style. The movement has transformed into many other artistic styles and nowadays there are lots of painters whose works can be referred to this very style."
Reference: The Impact of Surrealism (2009) [Internet] Available from: <http://www.klinkov.com/surrealism-influence> [Accessed 5th March 2011].
"The first literary Surrealism work appeared in 1921, Les Champs Magnitiques (“Magnetic Fields”), which a result of collaboration of Andre Breton and the French poet and novelist Philippe Soupault. However, in 1919, the above mentioned Breton and Soupault, along with Aragon published automatist works and accounts of Surrealist dream in the magazine Literature. This literature gave emphasis to the poetic undercurrents.Surrealism has greatly impacted many fields. Surrealism in art is a creative act of effort to liberate imagination. The Surrealism style dynamic and as dialectic in its thought, is present in the works of the obscure poet Samuel Greenberg and the hobo writer and humourist T-Bone Slim. Clark Ashton Smith, Montague Summers, Fantomas, The Residents, Bugs Bunny, comic strips are also referred to the style. Surrealism has had an impact on radical and revolutionary politics, both directly and indirectly (the New Left of the 1960s and 1970s and the French revolt of May 1968)."
"Originated at the beginning of the 20th century Surrealism movement goes on developing. These days a lot of artists worldwide created their works being influenced the ideas and techniques of Surrealism style. The movement has transformed into many other artistic styles and nowadays there are lots of painters whose works can be referred to this very style."
Reference: The Impact of Surrealism (2009) [Internet] Available from: <http://www.klinkov.com/surrealism-influence> [Accessed 5th March 2011].
Wednesday, 16 March 2011
Rihanna - S&M
Reference: Rihanna S&M (2011) S&M - Rihanna - [Digital Audio File] Available from: http://www.youtube.com/watch?v=KdS6HFQ_LUc [Accessed 12th March 2011]
Tuesday, 15 March 2011
David Lachapelle - Rihanna
"Prominent U.S. fashion photographer David LaChapelle is taking legal action over Rihanna's video for her new single for S&M, it has emerged today.LaChapelle, who has shot celebrities for magazines such as Rolling Stone, GQ and Vanity Fair, said 'the music video is directly derived from and substantially similar to the LaChapelle works.'Rihanna, 22, has sold over 25 million albums worldwide and dominated music charts in the U.S. with singles such as Umbrella and What's my name."
"The single S&M, however, has fizzled on the charts, and the video has been banned in some countries for its sexual content.In the suit, LaChapelle said Rihanna had appropriated eight of his images into the video, such as a shot where she is shown in profile against a blue background with a piece of candy on her tongue.
LaChapelle said Rihanna's video copied the 'composition, total concept, feel, tone, mood, theme, colours, props, settings, decors, wardrobe and lighting' of his work."
"He is suing for unspecified damages. A spokeswoman for Rihanna did not immediately respond to a request for comment. One scene shows Rihanna 'walking' gossip blogger on a leash, while dressed in late. It corresponds with a 2002 LaChapelle image for Vogue, Aristocrats, which shows a similar scene.
Earlier this month, the similarities were spotted by fans of the photographer, who flooded his fan pages on Facebook and Twitter with comments.A source at his studio told celebrity website Radar Online that initially fans though LaChapelle had directed the video.Other images allegedly copied in the Rihanna video include a striped room with girls wearing red afro wigs dancing on the furniture. The Chapelle version, Striped Farce, is again remarkably similar.Another shows Lady Gaga naked, but for newsprint covering her private areas - Rihanna wears a similar outfit in her video.The singer's video was shot by Melina Matsoukas, who also directed her track Rude Boy."
"A source told Radar that he left photos of LaChapelle's Vogue shoots lying around the set for inspiration.
One person to criticise the similarities was Perez himself, despite appearing in a scene.
He tweeted: 'The next time you make a David LaChapelle music video you should probably hire David LaChapelle.' "
Reference: Rihanna sued by famed fashion Photographer David LaChapelle over 'copycat' S&M video (2011) [Internet] Available from http://www.dailymail.co.uk/tvshowbiz/article-1357013/Rihanna-sued-S-M-video-fashion-photographer-David-LaChapelle.html [Accessed 15th March 2011]
""In a move most people saw a mile (or at least a tweet) away, fashion photographer David LaChapelle has sued Rihanna over her “S&M” music video which he claims was “directly derived” from his work.
In a lawsuit made public on Monday, LaChapelle called the video “substantially similar” to his eight examples of his work — a fact that didn’t go unnoticed by legions of his fans, fashion connoisseurs, and, well, LaChapelle himself, who tweeted on the day of the video’s release: “The next time you make a David LaChapelle music video you should probably hire David LaChapelle.” (The tweet was subsequently deleted.)"
"From Reuters:LaChapelle said Rihanna’s video copied the “composition, total concept, feel, tone, mood, theme, colors, props, settings, decors, wardrobe and lighting” of his work."
"He is suing for unspecified damages. A spokeswoman for Rihanna did not immediately respond to a request for comment."
"While the lawsuit isn’t great news for Rihanna, it will, at the very least, drum up some press for a single which has (in Reuters’ words) “fizzled on the charts.” But the lawsuit may inspire others. We’ve received two emails about a 19-year-old photographer named Philipp Paulus whose 2010 editorial Paperworld also appears to have inspired her video. A side by side of the images is below, as is a behind-the-scenes video from his shoot."
Reference: David Lachapelle sues Rihanna over S&M video (2011) [Internet] Available at http://www.styleite.com/media/rihanna-lawsuit-david-lachapelle/ [Accessed 15th March 2011]
"The single S&M, however, has fizzled on the charts, and the video has been banned in some countries for its sexual content.In the suit, LaChapelle said Rihanna had appropriated eight of his images into the video, such as a shot where she is shown in profile against a blue background with a piece of candy on her tongue.
LaChapelle said Rihanna's video copied the 'composition, total concept, feel, tone, mood, theme, colours, props, settings, decors, wardrobe and lighting' of his work."
"He is suing for unspecified damages. A spokeswoman for Rihanna did not immediately respond to a request for comment. One scene shows Rihanna 'walking' gossip blogger on a leash, while dressed in late. It corresponds with a 2002 LaChapelle image for Vogue, Aristocrats, which shows a similar scene.
Earlier this month, the similarities were spotted by fans of the photographer, who flooded his fan pages on Facebook and Twitter with comments.A source at his studio told celebrity website Radar Online that initially fans though LaChapelle had directed the video.Other images allegedly copied in the Rihanna video include a striped room with girls wearing red afro wigs dancing on the furniture. The Chapelle version, Striped Farce, is again remarkably similar.Another shows Lady Gaga naked, but for newsprint covering her private areas - Rihanna wears a similar outfit in her video.The singer's video was shot by Melina Matsoukas, who also directed her track Rude Boy."
"A source told Radar that he left photos of LaChapelle's Vogue shoots lying around the set for inspiration.
One person to criticise the similarities was Perez himself, despite appearing in a scene.
He tweeted: 'The next time you make a David LaChapelle music video you should probably hire David LaChapelle.' "
Reference: Rihanna sued by famed fashion Photographer David LaChapelle over 'copycat' S&M video (2011) [Internet] Available from http://www.dailymail.co.uk/tvshowbiz/article-1357013/Rihanna-sued-S-M-video-fashion-photographer-David-LaChapelle.html [Accessed 15th March 2011]
""In a move most people saw a mile (or at least a tweet) away, fashion photographer David LaChapelle has sued Rihanna over her “S&M” music video which he claims was “directly derived” from his work.
In a lawsuit made public on Monday, LaChapelle called the video “substantially similar” to his eight examples of his work — a fact that didn’t go unnoticed by legions of his fans, fashion connoisseurs, and, well, LaChapelle himself, who tweeted on the day of the video’s release: “The next time you make a David LaChapelle music video you should probably hire David LaChapelle.” (The tweet was subsequently deleted.)"
"From Reuters:LaChapelle said Rihanna’s video copied the “composition, total concept, feel, tone, mood, theme, colors, props, settings, decors, wardrobe and lighting” of his work."
"He is suing for unspecified damages. A spokeswoman for Rihanna did not immediately respond to a request for comment."
"While the lawsuit isn’t great news for Rihanna, it will, at the very least, drum up some press for a single which has (in Reuters’ words) “fizzled on the charts.” But the lawsuit may inspire others. We’ve received two emails about a 19-year-old photographer named Philipp Paulus whose 2010 editorial Paperworld also appears to have inspired her video. A side by side of the images is below, as is a behind-the-scenes video from his shoot."
Reference: David Lachapelle sues Rihanna over S&M video (2011) [Internet] Available at http://www.styleite.com/media/rihanna-lawsuit-david-lachapelle/ [Accessed 15th March 2011]
Reference: David Lachapelle Rihanna (2011) [Online Image] Available from: http://gossiponthis.com/2011/02/15/rihanna-sued-by-david-lachapelle/ [Accessed 1st April]
Friday, 11 March 2011
Max Earnst
Max Ernst b. 1891, Bruhl, Germany; d. 1976, Paris
"Max Ernst was born on April 2, 1891, in Bruhl, Germany. He enrolled in the University at Bonn in 1909 to study philosophy, but soon abandoned this pursuit to concentrate on art. At this time he was interested in psychology and the art of the mentally ill. In 1911 Ernst became a friend of August Macke and joined the Rheinische Expressionisten group in Bonn. Ernst showed for the first time in 1912 at the Galerie Feldman in Cologne. At the Sonderbund exhibition of that year in Cologne he saw the work of Paul Cézanne, Edvard Munch, Pablo Picasso, and Vincent van Gogh. In 1913 he met Guillaume Apollinaire and Robert Delaunay and traveled to Paris. Ernst participated that same year in the Erste deutsche Herbstsalon. In 1914 he met Jean Arp, who was to become a lifelong friend."
Reference: Max Earnst [Internet] Available from: http://www.guggenheim.org/new-york/collections/collection-online/show-full/bio/?artist_name=Max%20Ernst [Accessed 10th March 2011]
"Ernst, Max (1891–1976). German-born painter, printmaker, collagist, and sculptor who became an American citizen in 1948 and a French citizen in 1958, one of the major figures of Dada and even more so of Surrealism. He was born at Brühl, near Cologne; his father, who taught at a school for deaf and dumb children, was a keen amateur painter. A nervous and imaginative child, he was strangely affected at the age of 14 by the death of a favourite cockatoo on the same day as the birth of a sister. Later (referring to himself in the third person) he wrote that ‘In his imagination Max coupled these two events and charged the baby with the extinction of the bird's life. There followed a series of mystical crises, fits of hysteria, exaltations and depressions. A dangerous confusion between birds and humans became fixed in his mind and asserted itself in his drawings and paintings’ (he came to identify himself with Loplop, a birdlike creature that features in many of his works). In 1909 Ernst began to study philosophy and psychology at Bonn University, but he became fascinated by the art of psychotics (he visited the insane as part of his studies) and in 1911 he abandoned academic study for painting. He had no professional training as an artist, but he was influenced by August Macke, whom he met in 1911. Throughout the First World War he served as an artillery engineer, but thanks to an art-loving commanding officer he was sometimes able to paint, and he exhibited at the Sturm Gallery in 1916. After the war he settled in Cologne, where with his lifelong friend Arp (whom he had met in 1914) he became the leader of the city's Dada group. In 1920 he organized one of Dada's most famous exhibitions in the conservatory of a restaurant: ‘In order to enter the gallery one had to pass through a public lavatory. Inside the public was provided with hatchets with which, if they wanted to, they could attack the objects and paintings exhibited. At the end of the gallery a young girl, dressed in white for her first communion, stood reciting obscene poems’ ( David Gascoyne, A Short Survey of Surrealism, 1935). In 1922 Ernst settled in Paris, where he joined the Surrealist movement on its formation in 1924. Even before then, however, he had painted works that are regarded as Surrealist masterpieces, such as Celebes (Tate Gallery, London, 1921) in which an elephant is transformed into a strange mechanistic monster. The irrational and whimsical imagery seen here, in part inspired by childhood memories, occurs also in his highly original collages. In them he rearranged parts of banal engravings from sources such as trade catalogues and technical journals to create strange and startling scenes, showing, for example, a child with a severed head in her lap where a doll might be expected. He also arranged series of such illustrations with accompanying captions to form ‘collage novels'; the best-known and most ambitious is Une Semaine de bonté (‘A Week of Kindness'), published in Paris in 1934. Other imaginative techniques of which he was a leading exponent were frottage (which he invented in 1925) and decalcomania. In 1930 he appeared in the Surrealist film L'Age d'or, created by Luis Buñuel and Salvador Dali, and in 1935 he made his first sculpture (he worked seriously but intermittently in this field, characteristically creating totemic-like figures in bronze"
Reference: Ernst, Max Facts (1999) [Internet] Available from: http://www.encyclopedia.com/topic/Max_Ernst.aspx [Accessed 16th March 2011]
"Max Ernst was born on April 2, 1891, in Brühl, Germany. His memories of his childhood were remarkably vivid, and they provided him with many subjects for his later paintings. He attended the University of Bonn, where he studied philosophy and abnormal psychology, which also provided material for his art. In 1912 he turned to painting seriously, but it was only in 1918, after his war service, that he began to develop his own style. He made a seriesof collages, using illustrations from medical and technical magazines to form bizarre juxtapositions of images. "
"These collages were Ernst's main production when he was active in the Dada group in Cologne from 1919 to 1922. The Dada movement with its irreverent attitude to conventional art and mores appealed to Ernst and his friends. They produced a number of publications, and their most outrageous act was the famous 1920 Cologne Dada exhibition, to enter which the public had to walk through a public urinal. Dadamax was the pseudonym Ernst used during this period. "
"In 1922 Ernst moved to Paris, where the surrealists were gathering around André Breton. Ernst had already started doing more illusionistic paintings, strongly influenced by Giorgio de Chirico, and Breton and his friends admired them. In 1923 Ernst finished Les Hommes n'en sauront rein, known as the first Surrealist painting because, as the Phaidon Dictionary of Twentieth-Century Art says, it possesses "all the characteristic elements of Surealist painting: the dreamlike atmosphere, the irrational juxtaposition of images of widely different assocaitons, the digrams of celestial phenomena, the desert landscape and the central eroticism." In 1924 he completed one of his most famous pieces, Two Children Are Threatened by a Nightingale. Ernst himself was a winning figure, very charming and brilliant, and particularly fascinating to women. His romantic life was colorful, with many love affairs and several marriages; these were always accompanied by wild stories, and the surrealists enjoyed his life-style as much as they did his art. "
"In 1925 Ernst introduced his new technique of frottage; he placed sheets of paper on floorboards, tiles, bricks, or whatever was to hand and rubbed them with graphite, producing strange obsessive shapes. This technique fitted in with the surrealist cult of automatic drawing and writing, with their reliance on chance. The texture of these frottage drawings was then applied by Ernst to his paintings, combined with other techniques he invented. He did a series of haunting pictures of forests, birds, and hybrid beasts executed in a rough, painterly fashion. In the 1930s he returned to a more illusionistic style, though often with the same mythology as in his early works; at the same time he began doing sculpture, at first using boulders and carving them slightly to reveal hidden poetic shapes. "
"At the outbreak of World War II Ernst, like many other surrealists, made his way to the United States, where he married Peggy Guggenheim, the American art collector and dealer. The marriage ended in divorce. Ernst lived in the United States until 1953, spending much of his time in Arizona, painting strange landscapes. After 1953 he returned to Europe, painting and exhibiting, and continuing his personal life in a quieter vein, with his wife, Dorothea Tanning, an American painter. In 1954 at the Venice Biennale, Ernst was awarded one of the art world's top honors for painting. Ernst died in 1976. Since his death, major retrospectives exhibitions celebrating his artistic achievements have toured both Europe and the United States."
Reference: (2005-2006) Max Ernst Biography [Online] Available at: http://www.bookrags.com/biography/max-ernst/ [Accessed on 5th March 2011]
Reference: Max Earnst Images (2011) [Online Image] Available from: http://www.google.co.uk/search?hl=en&rlz=1R2SNYK_en-GB&biw=1259&bih=627&site=search&tbm=isch&sa=1&q=max+ernst&aq=0s&aqi=g-s1g6g-m3&aql=&oq=max+ea [Accessed on 6th April]
David LaChapelle
"This time my objective was to document America's obsessions and compulsions using publications as a means to reach the broadest possible audience. I was employing "pop" in the broadest sense of the word. I was photographing the most popular people in the world to the marginalized always attempting to communicate to the public in an explicit and understandable way. The images were always meant to attract, not alienate. Inclusion has always been the goal when making these pictures, and continues on in the newest works that will be exhibited."
"The difference between the works I did as a photographer for hire and the most recent is that I'm freed from the constraints of magazines. The work has not only been liberated from the limitations of glossy pages, but has also emerged from the white frame, engaging the viewer with the exploration of three-dimensional tableaux."
"Working at Interview Magazine, LaChapelle quickly began photographing some of the most famous faces of the times. Before long, he was shooting for the top editorial publications of the world, and creating the most memorable advertising campaigns of a generation. His striking images have appeared on and in between the covers of magazines such as Italian Vogue, French Vogue, Vanity Fair, GQ, Rolling Stone and i-D. In his twenty-year career in publishing, he has photographed personalities as diverse as Tupac Shakur, Madonna, Amanda Lepore, Eminem, Philip Johnson, Lance Armstrong, Pamela Anderson, Lil' Kim, Uma Thurman, Elizabeth Taylor, David Beckham, Paris Hilton, Jeff Koons, Leonardo DiCaprio, Hillary
Clinton, Muhammad Ali, and Britney Spears, to name just a small selection."
"After establishing himself as a fixture amongst contemporary photography, LaChapelle expanded his work to include direction of music videos, live theatrical events, and documentary film. His directing credits include music videos for artists such as Christina Aguilera, Moby, Jennifer Lopez, Britney Spears, The Vines and No Doubt."
"David LaChapelle is known internationally and in Israel as a photographer, a director of documentaries, and a video artist whose colorful, smooth and extroverted style is filled with sensuality, fantasy, and dark adventure, packed with accessible popular images, and communicates with a wide and variegated audience. His images have appeared on the covers of scores of leading fashion and entertainment magazines, and LaChapelle himself has played a pivotal role in the promotion of prestigious brands, such as Diesel, Nokia, Tommy Hilfiger, etc. He has photographed hundreds of celebrities, always depicted provocatively, usually in full or partial nudity."
"LaChapelle does not sanctify the erotic facet in order to satisfy the voyeuristic urge or the curiosity of an audience of viewers and fans; he prefers to celebrate the freedom to use it precisely in order to liberate the representation of the body, primarily the female body, from the pornographic context, from erroneous interpretation, and from the inevitable association of nakedness with sin, or the mechanical association of passion and lust with sexual gratification, abuse, and humiliation.To some extent, LaChapelle is considered an outsider in the art world and in the world of commercial photography alike. He tends to add subversive ideas and unusual aspects to the marketed product. In an advertising campaign for coffee, for example, he chose to emphasize the fact that it is a stimulant, and alluded to the fetishistic dimension inherent in the coffee ritual, complete with the pompous jargon associated with it, which he compared to the pompous ritualism of sadomasochistic rituals."
"His ability to create scenes of extreme reality using rich and vibrant colors makes his work instantly recognizable and often imitated. He continues to be inspired by everything from art history to street culture, creating both a record and mirror of all facets of popular culture today."
"LaChapelle grew up in an artistic setting which fully exploited the freedom of visual expression and the breaching of the boundaries of morality and censorship. At the same time, his approach does not quarrel with the numbness to which the liberty of the image has led. Instead it turns to the freedom of metaphor. LaChapelle strives to return the audience, the individuals in society, from their status as signifiers or as elements in the semiotic discourse, to their human existence, as active partners in the discourse, rather than the subjects discussed in it."LaChapelle combines religious narratives in his work, which, throughout history, have been introduced into art by the church and were intended to preach and glorify its power. Devout Christianity used Christ to foster propaganda, and God—to provide an excuse for killing and wars under the guise of reward and punishment. LaChapelle opts for the tolerant facet of religion, focusing on sermons which preach for love, forgiveness, and acceptance of the other. Via re-makes of original works he produces a fresh statement of his own. A blend of kitsch with porn chic, incorporating Hollywood and the New Testament in a single frame, and combining comics with Baroque and dark perversions with a soft and vulnerable human nature." Reference: David LaChapelle Bio [Internet] Available from: http://www.davidlachapelle.com/about/ [Accessed 3rd March 2011].
"David LaChapelle is a surrealist Photographer born in March 11th 1963, David aims to capture fashion, advertising and fine art photography he often uses fairly sexualized images,
LaChapelle studied at the "North Carolina School of the Arts and School of Visual Arts in New York City". His first photograph was of his mother, Helga LaChapelle, on a family vacation in Puerto Rico.
Andy Warhol offered him his first professional job as a photographer for Interview after meeting him at Studio 54 where LaChapelle was working at the time.[ He has also worked for Rolling Stone, Vogue, GQ, Photo and Vanity Fair throughout the years." Reference: David LaChapelle (2011) [Internet] Available from: http://en.wikipedia.org/wiki/David_LaChapelle [Accessed 25th February 2011].
"The difference between the works I did as a photographer for hire and the most recent is that I'm freed from the constraints of magazines. The work has not only been liberated from the limitations of glossy pages, but has also emerged from the white frame, engaging the viewer with the exploration of three-dimensional tableaux."
"Working at Interview Magazine, LaChapelle quickly began photographing some of the most famous faces of the times. Before long, he was shooting for the top editorial publications of the world, and creating the most memorable advertising campaigns of a generation. His striking images have appeared on and in between the covers of magazines such as Italian Vogue, French Vogue, Vanity Fair, GQ, Rolling Stone and i-D. In his twenty-year career in publishing, he has photographed personalities as diverse as Tupac Shakur, Madonna, Amanda Lepore, Eminem, Philip Johnson, Lance Armstrong, Pamela Anderson, Lil' Kim, Uma Thurman, Elizabeth Taylor, David Beckham, Paris Hilton, Jeff Koons, Leonardo DiCaprio, Hillary
Clinton, Muhammad Ali, and Britney Spears, to name just a small selection."
"After establishing himself as a fixture amongst contemporary photography, LaChapelle expanded his work to include direction of music videos, live theatrical events, and documentary film. His directing credits include music videos for artists such as Christina Aguilera, Moby, Jennifer Lopez, Britney Spears, The Vines and No Doubt."
"David LaChapelle is known internationally and in Israel as a photographer, a director of documentaries, and a video artist whose colorful, smooth and extroverted style is filled with sensuality, fantasy, and dark adventure, packed with accessible popular images, and communicates with a wide and variegated audience. His images have appeared on the covers of scores of leading fashion and entertainment magazines, and LaChapelle himself has played a pivotal role in the promotion of prestigious brands, such as Diesel, Nokia, Tommy Hilfiger, etc. He has photographed hundreds of celebrities, always depicted provocatively, usually in full or partial nudity."
"LaChapelle does not sanctify the erotic facet in order to satisfy the voyeuristic urge or the curiosity of an audience of viewers and fans; he prefers to celebrate the freedom to use it precisely in order to liberate the representation of the body, primarily the female body, from the pornographic context, from erroneous interpretation, and from the inevitable association of nakedness with sin, or the mechanical association of passion and lust with sexual gratification, abuse, and humiliation.To some extent, LaChapelle is considered an outsider in the art world and in the world of commercial photography alike. He tends to add subversive ideas and unusual aspects to the marketed product. In an advertising campaign for coffee, for example, he chose to emphasize the fact that it is a stimulant, and alluded to the fetishistic dimension inherent in the coffee ritual, complete with the pompous jargon associated with it, which he compared to the pompous ritualism of sadomasochistic rituals."
"His ability to create scenes of extreme reality using rich and vibrant colors makes his work instantly recognizable and often imitated. He continues to be inspired by everything from art history to street culture, creating both a record and mirror of all facets of popular culture today."
"LaChapelle grew up in an artistic setting which fully exploited the freedom of visual expression and the breaching of the boundaries of morality and censorship. At the same time, his approach does not quarrel with the numbness to which the liberty of the image has led. Instead it turns to the freedom of metaphor. LaChapelle strives to return the audience, the individuals in society, from their status as signifiers or as elements in the semiotic discourse, to their human existence, as active partners in the discourse, rather than the subjects discussed in it."LaChapelle combines religious narratives in his work, which, throughout history, have been introduced into art by the church and were intended to preach and glorify its power. Devout Christianity used Christ to foster propaganda, and God—to provide an excuse for killing and wars under the guise of reward and punishment. LaChapelle opts for the tolerant facet of religion, focusing on sermons which preach for love, forgiveness, and acceptance of the other. Via re-makes of original works he produces a fresh statement of his own. A blend of kitsch with porn chic, incorporating Hollywood and the New Testament in a single frame, and combining comics with Baroque and dark perversions with a soft and vulnerable human nature." Reference: David LaChapelle Bio [Internet] Available from: http://www.davidlachapelle.com/about/ [Accessed 3rd March 2011].
"David LaChapelle is a surrealist Photographer born in March 11th 1963, David aims to capture fashion, advertising and fine art photography he often uses fairly sexualized images,
LaChapelle studied at the "North Carolina School of the Arts and School of Visual Arts in New York City". His first photograph was of his mother, Helga LaChapelle, on a family vacation in Puerto Rico.
Andy Warhol offered him his first professional job as a photographer for Interview after meeting him at Studio 54 where LaChapelle was working at the time.[ He has also worked for Rolling Stone, Vogue, GQ, Photo and Vanity Fair throughout the years." Reference: David LaChapelle (2011) [Internet] Available from: http://en.wikipedia.org/wiki/David_LaChapelle [Accessed 25th February 2011].
Reference: David Lachapelle Images (2011) [Online Image] Available from: http://www.google.co.uk/search?q=david+lachapelle&hl=en&rlz=1R2SNYK_en-GB&prmd=ivnsuo&tbm=isch&tbo=u&source=univ&sa=X&ei=aSqnTczkLtKz8QOU_YinBg&sqi=2&ved=0CEUQsAQ&biw=1259&bih=627 [Accessed 4th April 2011]
Thursday, 10 March 2011
Surrealist Photographers
Domen Lombergar
Philippe Halsman
Jerry Uelsmann
Chrstophe Huet http://www.christophehuet.com/
David LaChappelle http://www.lachapellestudio.com/
Anne Geddes http://www.annegeddes.com/
Philippe Halsman
Jerry Uelsmann
Chrstophe Huet http://www.christophehuet.com/
David LaChappelle http://www.lachapellestudio.com/
Anne Geddes http://www.annegeddes.com/
Surrealism in Photography
"Surrealism in photography" "was one of the major revolutionary changes in the evolution of photography. Rather than art, photography was reviewed as a copying effort. Surrealism is the introduction of the ‘more than real' images to the art forms. The surrealistic art forms were the true representations of the path of mind. The incorporation of surrealism into photography seems to be a real absurd act since both are contradictory, in the principles. But, in fact surrealism was a break through in photography, which motivated the photographers for more experiments."
"Surrealism was a movement in the art and intellectual activities, emerged after World War I. Andre Breton, was the founder of the surrealistic concepts and he has gathered the influence from the Dande movement. Surrealism is actually the real expression of mental emotions, without any polishing. Andre Breton describes surrealism in Surrealist Manifesto, as the pure psychic automatism expressed in the real functionality of a person. Surrealistic art forms characteristically differ from the conventional forms in not having specific shape or idea. It can be the expression of basic human instinct and imaginative faculties of the unconscious mind. But, when surrealism comes to photography, the critics did not even imagine such a possibility. However," "Marquise Casati" "by Man Ray, made a change to the belief, as it featured multiple eyes for the photograph. Even though, it was an accidental blurring, it proved the chances for the feasibility of surrealistic works.
Man Ray and Lee Miller are considered as legends in surrealistic photography as they were very successful to overcome the limitations of photography to create surrealistic images. Maurice Tabard is another famous surrealist, who had his own technique for surrealistic imaging. Hans Bellmer creatively used mechanical dolls to symbolize sexualized images, where as for Rene Magritte camera was the tool to make photographic equivalents of his paintings. "
"Surrealist photographs are described as the images, which symbolically represent dreams, night mares, intoxication, sexual ecstasy, hallucination and madness. The difficulty with photography medium is that it imbibes the reality, and often the real images cannot be sufficient to express such unconventional patterns. But, the famous surrealist photographers are able to fulfill the task since they can use the photographic techniques effectively. The ordinary snapshots, body photographs, anthropological photographs, medical photographs, movie stills, and even police photographs are manipulated to create the impression of surrealist images in the photographs. "
"Surrealism in photography is mainly performed using the different techniques. The differential techniques of light and lenses can itself be the primary technique for surrealism. Photomontage is one of the popular processing techniques, in which the several images are coupled together. In photogram, a photographic paper can be used instead of camera to imprint the image. The images produced by the flush of light can create amazing images that has a surrealistic look. "
"Multiple exposure is another technique for surrealism, in which the camera is clicked twice or more, without rolling the negative. The second image will be superimposed on the first image and the final product will be an undefined mixture of both. Cliche verre or glass negative is the surrealistic technique that uses negative coated from glass plate. Anyhow, solarization or Sabattier effect seems to be the most remarkable technique for surrealism. It produces dramatic effect of patterns through the flushing of the light on the photograph, while developing in the darkroom. It was discovered by Lee Miller, which have selective reversal of highlights and shadows. The light and dark areas with the distinct line of reversal make it most appropriate for surrealism.
Surrealism in photography has progressed much from its primitive stages. The new technology and lenses offer immense opportunity to the new generation photographers to portray their mental emotions in the frame of cameras." Reference (2007) [Internet] Available from http://www.photorails.eu/articles5.html [Accessed 9th February 2011]
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