Artists see the bigger picture.
No surprise there.
The past inside the present
Camilla Akrans borrows some Thirties’ style for the New York Times.
Horst Torso by George Hoyningen-Huene (1931).
“Horst” was Horst P Horst, Hoyningen-Huene’s lover at the
time and later a respected fashion photographer for Vogue.
Divers by George Hoyningen-Huene (1930).
Fashion shoot by Camilla Akrans for the New York Times, March 2007.
Previously on { feuilleton }
• The Decorative Age
• Vintage magazine art II
Moonlight in Glory
Great abstract animation from the Trollbäck design company for Moonlight in Glory, a track from My Life in the Bush of Ghosts by Brian Eno & David Byrne. Via Design Observer.
In a similar vein there’s Bruce Connor‘s 1981 film for another track, Mea Culpa. Connor also produced a film for America is Waiting from the same album. Continuing the interpretative theme, Eno & Byrne made the album tracks publicly available in 2006 to potential remixers. Some results of that, Our Lives in the Bush of Disquiet, can be found here and here.
Update: the original Moonlight link was deleted but you can still see the video on their site if you hunt through the sample of works shown on the Trollbäck home page.
Elsewhere on { feuilleton }
• The abstract cinema archive
Previously on { feuilleton }
• Tiger Mountain Strategies
• Generative culture
• My Life in the Bush of Ghosts
Pierre Matter’s cyborg sculpture
Seven pages more at the Opera Gallery and another page here.
Via Boing Boing.
Elsewhere on { feuilleton }
• The fantastic art archive
Cormac McCarthy book covers
Still in pursuit of a Cormac McCarthy obsession I picked up a copy of the (American) Vintage International paperback of Blood Meridian this week, almost solely for the cover. As it turns out it’s also an easier book to read than the UK edition, less tightly bound although the body text in both looks as though it was printed from photocopied galley proofs. The cover design is by Susan Mitchell, with photography by Craig Arness, and forms part of a small series among the Vintage reprint editions. Mitchell resists the understandable temptation to put red on the cover, saving that for McCarthy’s tale of a murderer, Child of God.