itwonlast

System magazine #2 cover by Juergen Teller

System magazine #2 cover by Juergen Teller

Published on the occasion of the 2009 exhibition Mike Kelley: Photographs / Sculptures at Wako Works of Art in Tokyo, this catalogue features color images of six photographic series and a body of sculptural works by the artist. A number of self-portraits from 1978 mimic 19th century spirit photography, and depict Kelley emitting cotton ball “ectoplasm” from his head. 

The Ectoplasm series is linked to a project made in association with artist David Askevold in 1978, titled “The Poltergeist.” David and I shared an interest in the aesthetics of the occult which led us to make a series of photographic works that addressed that history. We did not work collaboratively, though we had numerous discussions about the project as it was developed. Each artist’s works were produced independently, but with the intention that they should be seen simultaneously to inflect the reading of the other. My portion of the project includes faux spiritualist photographs of a “medium” (myself) exuding the mysterious ethereal substance ectoplasm. The photos mimic the look of period spiritualist photography from the early part of the 20th century
Mike Kelley, 2009

Another photographic series depicts dancer Anita Pace through a Vaseline-coated lens, and two untitled groups of photographs capture amorphous globules and puddles through a combination of layered negatives and colored gels. Also featured is an essay written by Kelley to accompany the exhibition, and a number of poetic texts printed in conjuction with the photographs.

Published on the occasion of the 2009 exhibition Mike Kelley: Photographs / Sculptures at Wako Works of Art in Tokyo, this catalogue features color images of six photographic series and a body of sculptural works by the artist. A number of self-portraits from 1978 mimic 19th century spirit photography, and depict Kelley emitting cotton ball “ectoplasm” from his head.

The Ectoplasm series is linked to a project made in association with artist David Askevold in 1978, titled “The Poltergeist.” David and I shared an interest in the aesthetics of the occult which led us to make a series of photographic works that addressed that history. We did not work collaboratively, though we had numerous discussions about the project as it was developed. Each artist’s works were produced independently, but with the intention that they should be seen simultaneously to inflect the reading of the other. My portion of the project includes faux spiritualist photographs of a “medium” (myself) exuding the mysterious ethereal substance ectoplasm. The photos mimic the look of period spiritualist photography from the early part of the 20th century

Mike Kelley, 2009

Another photographic series depicts dancer Anita Pace through a Vaseline-coated lens, and two untitled groups of photographs capture amorphous globules and puddles through a combination of layered negatives and colored gels. Also featured is an essay written by Kelley to accompany the exhibition, and a number of poetic texts printed in conjuction with the photographs.

Alpinism by Zoe Ghertner for Fantastic Man #16 Autumn Winter 2012 (styling: Jodie Barnes)

Alpinism by Zoe Ghertner for Fantastic Man #16 Autumn Winter 2012 (styling: Jodie Barnes)

René Burri x Comme des Garçons: (note: Burri’s photographs were used for all the 2012 direct mail catalogs, no.1 above) “It all began because Rei Kawakubo found me. She has an incredible sense of going beyond. When she sent me the first designs, I was amazed because she owned all of my old books. Even the ones from the 1960s, that I did on Germany. She took my work, respected the images and made them into collages in a very interesting way. It is almost like recycling. Taking the same ingredients, but making a new combination, whilst keeping the spirit of things. I was so impressed. In a way, it took my own work further from what I had done at the time, because all I was really doing was going on and on. I couldn’t stop. I am the first photographer in the Comme des Garçons series . When her and Adrian Joffe first asked me to be involved, they showed me the work of Ai Weiwei. I remember turning to Rei and saying “but what can I do, how can i do it?”. She told me that I didn’t have to do anything. That she would take my work, recycle the images and design them. I just saw the last one in the series, no. 29. Rei is really unbelievable. Now, here I am, confronted with a construction of my own work.”

(Source: obsessivecollectors.com)

guillaumejolly:
Détour par les Serres d’Auteuil en allant à un rendez-vous à Roland Garros. On pouvait compter plus de jardiniers que de visiteurs ce jour-là. Probablement un des endroits les plus agréables et des plus paisibles de Paris.

guillaumejolly:

Détour par les Serres d’Auteuil en allant à un rendez-vous à Roland Garros. On pouvait compter plus de jardiniers que de visiteurs ce jour-là. Probablement un des endroits les plus agréables et des plus paisibles de Paris.

A sculpture by Constantin Brancusi at the Kunsthaus Museum, Zurich, 1955 René Burri 1955

A sculpture by Constantin Brancusi at the Kunsthaus Museum, Zurich, 1955
René Burri
1955