from Tara Morgana by Paul Holman published by Scarlet Imprint and illustrated by the photography of Paul Lambert
Showing posts with label photography. Show all posts
Showing posts with label photography. Show all posts
Tuesday, January 20, 2015
Friday, January 25, 2013
Wednesday, December 1, 2010
Robert Mapplethorpe... Erotica ...Collage 1972
previous Mapplethorpe
" My approach to photographing a flower is not much different than photographing a cock. Basically, it's the same thing." RM
" My approach to photographing a flower is not much different than photographing a cock. Basically, it's the same thing." RM
Wednesday, July 21, 2010
A Season in Hell...Arthur Rimbaud & Robert Mapplethorpe
....
A Rimbaud
A SEASON IN HELL [Une Saison en Enfer] (1873)
SECOND DELIRIUM: THE ALCHEMY OF THE WORD
I only find within my bones
A taste for eating earth and stones.
When I feed, I feed on air,
Rocks and coals and iron ore.
My hunger, turn. Hunger, feed:
A field of bran.
Gather as you can the bright
Poison weed.
Eat the rocks a beggar breaks,
The stones of ancient churches' walls,
Pebbles, children of the flood,
Loaves left lying in the mud.
* * *
Beneath the bush a wolf will howl,
Spitting bright feathers
From his feast of fowl:
Like him, I devour myself.
Waiting to be gathered
Fruits and grasses spend their hours;
The spider spinning in the hedge
Eats only flowers.
Let me sleep! Let me boil
On the altars of Solomon;
Let me soak the rusty soil
And flow into Kendron.
It is recovered.
What? - Eternity.
In the whirling light
Of the sun in the sea.
O my eternal soul,
Hold fast to desire
In spite of the night
And the day on fire.
You must set yourself free
From the striving of Man
And the applause of the World
You must fly as you can...
- No hope forever
No orietur.
Science and patience,
The torment is sure.
The fire within you,
Soft silken embers,
Is our whole duty
But no one remembers.
It is recovered.
What? Eternity.
In the whirling light
Of the sun in the sea.
from LIMITED EDITIONS CLUB- A. RIMBAUD & R. Maplethorpe A Season in Hell. 1986
Monday, July 5, 2010
Thursday, February 25, 2010
Monday, February 22, 2010
Francesco Clemente...The light is behind the paint
"To me the poets are closer than I am to the idea of voice, to a sort of primeval song that we all participate in. Maybe they express more directly a sense of sympathy for other human beings. Painting is a little bit more of a retreat from human beings in real life; painting is more about the extreme moments when speech doesn't help anymore." FC
Photo Jeannette Montgomery Barron
Thursday, January 7, 2010
Jack Smith ...The Beautiful Book...
The only autonomous collection of Jack Smith's photographs to appear during his lifetime, The Beautiful Book
comprises 19 hand-tipped black-and-white contact prints made from the original negatives. The photographs were produced mainly during the course of extended shooting sessions in Smith's Lower East Side apartment. Most date from the winter of 1962, although a few are earlier - including the final'signature' photograph, a portrait of the artist on the steps beneath the Brooklyn Bridge taken by filmmaker Ken Jacobs. Nearly half the photographs feature the artist Marian Zazeela, who provided the design for the book's silk-screened cover. Smith and his associates assembled
the books during the late spring and early summer of 1962, before shooting began on Flaming Creatures. Published and distributed by Piero Heliczer's press, the dead language, The Beautiful Book was advertised with a statement from the filmmaker Ron Rice: 'we studied these photographs with keen eye discovering new & more beautiful images hidden in every dissolve & curve of the draperies & silks which ran through these masterpieces like some long lost mysterious fume from
byzantium.'
comprises 19 hand-tipped black-and-white contact prints made from the original negatives. The photographs were produced mainly during the course of extended shooting sessions in Smith's Lower East Side apartment. Most date from the winter of 1962, although a few are earlier - including the final'signature' photograph, a portrait of the artist on the steps beneath the Brooklyn Bridge taken by filmmaker Ken Jacobs. Nearly half the photographs feature the artist Marian Zazeela, who provided the design for the book's silk-screened cover. Smith and his associates assembled
the books during the late spring and early summer of 1962, before shooting began on Flaming Creatures. Published and distributed by Piero Heliczer's press, the dead language, The Beautiful Book was advertised with a statement from the filmmaker Ron Rice: 'we studied these photographs with keen eye discovering new & more beautiful images hidden in every dissolve & curve of the draperies & silks which ran through these masterpieces like some long lost mysterious fume from
byzantium.'
Saturday, January 2, 2010
Tuesday, November 17, 2009
Saturday, September 26, 2009
Saturday, August 29, 2009
PARAPHILIA MAGAZINE... issue 4
PARAPHILIA
Greek Meaning:
παρά --para: beside, near, past, beyond, above, contrary, resembling, apart from, irregular and abnormal.
φιλία --philia: a love that designates friendship, love between friends, a desire or enjoyment of an activity, as well as between lovers, family and community.
Medical Psychology Meaning: Sexual Fetishes.
Metaphysical Meaning: Friendship from Beyond.
New issue containing work by the following;
JOHN COULTHART, ARNAUD LOUMEAU, JIM LOPEZ, MICHAEL K, MICHAEL ROTH, CHRIS
BRANDRICK, CLARE GODDEN-ROWLAND, MALCOLM ALCALA, SALENA GODDEN, THOMAS
EVANS, GENE GREGORITS, DOLOROSA, A.D. HITCHEN, CHRISTOPHER NOSNIBOR,
MAX REEVES, IAN MILLER, RICH FOLLETT, NICK TOSCHES, CHARLES CHRISTIAN,
ROBERT AGASUCCI, ELE-BETH LITTLE, ALFRED MURO, DAVID CONWAY, DARIUS
JAMES, DESTINY MCKEEVER, STEWART HOME, PATRICK WRIGHT, CRICKET
CORLEONE, RICHARD A. MEADE, RICK GRIMES, LITTLE SHIVA, HANK KIRTON,
CRAIG WOODS, JAD FAIR, CLAUDIA BELLOCQ, TOM GARRETSON, ANGELA SUZZANNE,
RON GARMON, DAVID GIONFRIDDO, KATE MACDONALD, MARY LEARY, CHRIS MORRIS
Enter
http://www.myspace.com/paraphiliamagazine
ISSUE 4
Monday, August 24, 2009
Hannah Cullwick... Mad Love ...
'I kissed you when you asked me. I wanted to see what your mouth was like. It was hot and warm. I knowed you was good and soft by the feel of your mouth.'
Hannah Cullwick as Mary Magdalen by James Stodart in 1864
directed by Kim Wood 2003
Hannah Cullwick is a fascinating figure, a working class woman who kept a diary and pursued a class-defying relationship which encompassed S/M role-playing, cross-dressing and muscle fetishism.
Refusing to be constrained by notions of gender, class or race,she revelled in her physical toil and embraced her identity as a maid of all work, building up musculature and strength which delighted the victorian barrister Arthur Munby.
Victorian English gentlemen were notorious collectors. In the interests of scientific investigation and sociological progress, they amassed butterflies, antiquities and colonial territories on a breathtaking scale. Arthur Munby – minor poet, man of letters, Church Commissioner and barrister – collected working women. For over 50 years he sought out shop-girls, milliners, fruit and flower sellers, prostituterag-pickers, flither-lasses, pitbrow and gypsy girls, a cquiring their photographs and making detailed notes about their physical appearance and working lives.
Munby first spoke to Hannah on her 21st birthday. She was enjoying her second visit to London, having been brought from her native Shropshire by her employers for the season. On her first visit, the year before, Hannah had seen Charles Kean in Sardanapalus, Byron's tragedy about the King of Assyria who falls madly in love with one of his many slaves, Myrrah.
The play so fired her romantic imagination that when Munby approached her, she immediately identified him as a Master to whom she could become lovingly enslaved. His interest in female drudgery perfectly matched her desire to abase herself.
She practised her letter-writing in order to send her lover the kind of detailed descriptions he revelled in, telling him that "the blacker I get with work, the more ardent I feel towards you", and incidentally ensuring that her side of the unusual relationship is amply recorded.
Both documented their relationship, though it remained secret from their peers and Cullwick even took the bold step of changing jobs when staff became suspicious of the chain she wore round her neck as a symbol of her "belonging" to Munby. In her diaries she records submissive acts such as washing his feet and licking his boots.
However,Cullwick was probably in the driving seat in the relationship and refused his attempts to turn her into a lady. While Munby's diaries are full of his admiration for her physicality and muscularity, it is less clear what drew her to him,and indeed kept them locked together for decades in a relationship she described as "the same to us as marriage is to other folks",much of it spent living apart.
Arthur Munby
“For freedom & true lowliness, there's nothing like being a maid of all work...” Hannah Cullwick, 1872
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