Manikins (1951).
Male Nude (1954).
Good gallery of his often enigmatic paintings here.
Elsewhere on { feuilleton }
• The gay artists archive
A journal by artist and designer John Coulthart.
Manikins (1951).
Male Nude (1954).
Good gallery of his often enigmatic paintings here.
Elsewhere on { feuilleton }
• The gay artists archive
John Patterson
Friday July 14, 2006
The Guardian
If you’re making a serious movie about drugs, it doesn’t hurt to assemble a cast that knows whereof it collectively speaks. And for his adaptation of A Scanner Darkly, Philip K Dick’s unsettling 1977 masterpiece about drugs, fractured identity, paranoia and betrayal, Richard Linklater has found a quartet that runs the full gamut of the drug experience. You’ve got Keanu Reeves – who for all we know has never even smoked a single joint, but whose name is a byword for stoner inarticulacy – playing Dick’s addict- cum-narcotics-detective Bob Arctor. As Arctor’s dealer-addict paramour Donna, we have Winona Ryder, all grown up since her apparently pill-induced moment of shoplifting madness. Hemp activist Woody Harrelson plays one of Arctor’s drug-addled housemates, while the other is played by no less august an imbiber of chemicals and sacred roots than Robert Downey Jr, who has what one might call an embarrassment of riches in this field.
(More.)
Hajime Emoto creates very convincing imaginary creatures, all with a slightly desiccated appearance, that range from the strikingly demonic (like the example above) to more mundane fish, amphibians and plant life. Site is Japanese-only but that don’t let that prevent you from browsing.
Via The Nonist.
Elsewhere on { feuilleton }
• The fantastic art archive
New York Series, 57th Street, 8 Hours (2005).
Atta Kim: On-Air
International Center of Photography
1133 Avenue of the Americas at 43rd Street, New York
June 9 through August 27, 2006
This exhibition presents a selection of recent works from the ON-AIR Project by the Korean contemporary artist Atta Kim (born 1956). For these large-scale, visually spectacular color photographs, Kim employed extended exposures—sometimes as long as eight hours——to explore fundamental questions of time and perception. Using such varied subjects as parliamentary sessions, soccer games, outdoor military exercises, and erotic unions, Kim suggests that it is possible for us to perceive the passage of time in radically different ways.
The Sex Series, 1 Hour (2003).