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Fashion Awards Preview
WWD A SUPPLEMENT TO WOMEN’S WEAR DAILY 2011 CFDA FASHION AWARDS PREVIEW 053111.CFDA.001.Cover.a;4.indd 1 5/23/11 12:47 PM marc jacobs stores worldwide helena bonham carter www.marcjacobs.com photographed by juergen teller marc jacobs stores worldwide helena bonham carter www.marcjacobs.com photographed by juergen teller NEW YORK LOS ANGELES BOSTON LAS VEGAS MIAMI DALLAS SAO PAULO LONDON PARIS SAINT TROPEZ BRUSSELS ANTWERPEN KNOKKE MADRID ATHENS ISTANBUL MOSCOW DUBAI HONG KONG BEIJING SHANGHAI MACAU JAKARTA KUALA LUMPUR SINGAPORE SEOUL TOKYO SYDNEY DVF.COM NEW YORK LOS ANGELES BOSTON LAS VEGAS MIAMI DALLAS SAO PAULO LONDON PARIS SAINT TROPEZ BRUSSELS ANTWERPEN KNOKKE MADRID ATHENS ISTANBUL MOSCOW DUBAI HONG KONG BEIJING SHANGHAI MACAU JAKARTA KUALA LUMPUR SINGAPORE SEOUL TOKYO SYDNEY DVF.COM IN CELEBRATION OF THE 10TH ANNIVERSARY OF SWAROVSKI’S SUPPORT OF THE CFDA FASHION AWARDS AVAILABLE EXCLUSIVELY THROUGH SWAROVSKI BOUTIQUES NEW YORK # LOS ANGELES COSTA MESA # CHICAGO # MIAMI # 1 800 426 3088 # WWW.ATELIERSWAROVSKI.COM BRAIDED BRACELET PHOTOGRAPHED BY MITCHELL FEINBERG IN CELEBRATION OF THE 10TH ANNIVERSARY OF SWAROVSKI’S SUPPORT OF THE CFDA FASHION AWARDS AVAILABLE EXCLUSIVELY THROUGH SWAROVSKI BOUTIQUES NEW YORK # LOS ANGELES COSTA MESA # CHICAGO # MIAMI # 1 800 426 3088 # WWW.ATELIERSWAROVSKI.COM BRAIDED BRACELET PHOTOGRAPHED BY MITCHELL FEINBERG WWD Published by Fairchild Fashion Group, a division of Advance Magazine Publishers Inc., 750 Third Avenue, New York, NY 10017 EDITOR IN CHIEF ADVERTISING Edward Nardoza ASSOCIATE PUBLISHER, Melissa Mattiace ADVERTISING DIRECTOR, Pamela Firestone EXECUTIVE EDITOR, BEAUTY Pete Born PUBLISHER, BEAUTY INC, Alison Adler Matz EXECUTIVE EDITOR Bridget Foley SALES DEVELOPMENT DIRECTOR, Jennifer Marder EDITOR James Fallon ASSOCIATE PUBLISHER, INNERWEAR/LEGWEAR/TEXTILE, Joel Fertel MANAGING EDITOR Peter Sadera EXECUTIVE DIRECTOR, INTERNATIONAL FASHION, Matt Rice MANAGING EDITOR, FASHION/SPECIAL REPORTS Dianne M. -
Body As Crisis
CHAPTER II It is monstrosity, not death, that is the counter- value to life Georges Canguilhem, Monstrosity and the Monstrous … In the middle, cadaverous, awful, lay the grey puddle in the courtyard … I came to the puddle. I could not cross it. Identity failed me Virginia Woolf, The Waves Frida Kahlo and Cindy Sherman both present the wounded flesh. But while Kahlo showed chronic pain as a result of tissue damage, Sherman’s art can be read as a symptom of pain, a reflection of a mental state. While Kahlo painted perpetual pain accompanying her all her life, Sherman shows pain as a structural instability, the blurring of the boundaries of stereotyped femininity. Like her own artistic persona, pain in Sherman’s work is de-individualized; it might just as well be the pain of an author, a model, a character or a viewer. Abandoning any claim on notions such as authorship or intentionality, Sherman disowns – but does not disembody – pain. Pain in Sherman’s art changes the body in the same way that emotional crisis watermarks the identity. Sherman never shows her characters as what is widely understood as idealized figures. Her art forms the counterpart to the American cult of the well-functioning, toned-down body, where any memory of pain had been erased. Pain denied elsewhere here becomes pain transformed into monstrosity, nausea, pathology, hysteria, and disguise. Sherman’s photographs force the viewer to acknowledge the amount of pain constituting the female subject. I am interested in the discursive exchange between feminist and psychoanalytic theories and visual images where Sherman’s art is concerned. -
Pirelli: Präsentation Des Kalenders 2017 Von Peter Lindbergh in Paris
PRESSEMITTEILUNG PIRELLI: PRÄSENTATION DES KALENDERS 2017 VON PETER LINDBERGH IN PARIS www.pirellicalendar.com zeigt exklusiv Wissenswertes zur neuesten Ausgabe von „The Cal“™ Paris, 29. November 2016 – In Paris wurde heute der Pirelli Kalender 2017 von Peter Lindbergh präsentiert, einem der international renommiertesten Fotografen. Mit der Ausgabe von 2017, die auf die aktuelle Edition von Annie Leibovitz folgt, ist der deutsche Künstler der einzige Fotograf, der den Pirelli Kalender drei Mal gestaltet hat. 1996 machte er die Aufnahmen in der Wüste El Mirage in Kalifornien, 2002 ging es in die Studios der Paramount Pictures in Los Angeles. Im Jahr 2014 machte er zusammen mit Patrick Demarchelier außerdem die Aufnahmen anlässlich des 50jährigen Jubiläums des Kalenders, der dieses Jahr, da es einige Unterbrechungen in der Veröffentlichung gab, zum vierundvierzigsten Mal herausgegeben wird. Der Fotograf erklärt seinen Ansatz, der sich wie ein roter Faden durch den Pirelli Kalender 2017 zieht: „In einer Zeit, in der die Frauen in den Medien und allgemein als Abbild von Perfektion und Schönheit gelten, war es für mich wichtig, daran zu erinnern, dass es noch eine andere, wirklichere und authentischere Art der Schönheit gibt, die nicht von der Werbung oder anderem manipuliert wird. Eine Schönheit, die Individualität und den Mut, man selbst zu sein sowie Empfindsamkeit zum Ausdruck bringt.“ Der von Lindbergh gewählte Titel „Emotional“ unterstreicht seine Absicht, mit den Aufnahmen „keinen Kalender der perfekten Körper zu schaffen, sondern vielmehr einen Kalender der Empfindsamkeit und der Gefühle, der die Seelen der abgelichteten Personen freilegt und sie dadurch nackter darstellt als in Nacktaufnahmen.“ Um seine Vorstellung von natürlicher Schönheit und Feminität zu realisieren, hat Lindbergh vierzehn bekannte Schauspielerinnen abgelichtet: Jessica Chastain, Penelope Cruz, Nicole Kidman, Rooney Mara, Helen Mirren, Julianne Moore, Lupita Nyong'o, Charlotte Rampling, Lea Seydoux, Uma Thurman, Alicia Vikander, Kate Winslet, Robin Wright, Zhang Ziyi. -
Modern Painters March 2006 Let Me Entertain You Juergen Teller Takes
Modern Painters March 2006 Let Me Entertain You Juergen Teller takes centre stage By Vince Aletti IT'S HARD TO TAKE Juergen Teller seriously, but that's part of his appeal. Teller doesn't take himself too seriously either. He's a joker, a prankster, sometimes a buffoon. He became famous as a fashion photographer in the 1990s, when artists (including Corinne Day, Wolfgang Tillmans, Jack Pierson, Nan Goldin and Terry Richardson) and magazines (The Face, i-D, Dutch, Dazed & Confused, Index) that had little or no use for the genre's conventions were scrapping them and starting over from scratch. Mocking fashion's snobbism and superficiality, Teller and his fellow mavericks made work that was cheeky, funny, street smart and much more about the model's attitude than the clothes she wore. Or didn't wear. Teller's most notorious photos, from 1996, are of model Kristen McMenamy wearing nothing but jewellery; inside a crude lipstick heart drawn between her breasts is the name Versace, written in eyebrow pencil. Glamour survived these attempts to debunk it, but Teller had made his mark and established a reliably, often hilariously, perverse career in fashion photography that continues most conspicuously in his ad campaign for Marc Jacobs. There's scant evidence of that career in the Teller exhibition that opens at Fondation Cartier in Paris this month, where the nudity on display will be primarily his own. Titled Do You Know What I Mean, the show includes frankly autobiographical work, some of which was on view at New York's Lehmann Maupin Gallery in January, and finds Teller delving deeper into personal and national history. -
Pirelli Calendar 2010 by Terry Richardson London
Pirelli Calendar 2010 by Terry Richardson London, 19 November 2009 – The 2010 Pirelli Calendar, now in its 37th edition, was presented to the press and to guests and collectors from around the world, at its global premiere in London. The much-awaited appointment with ‘The Cal’, a cult object for over 40 years, was held this year at Old Billingsgate, the suggestive late 19th century building on the banks of the Thames, where from 1875 to 1982 it housed the capital city’s fish market. Following China, immortalized by Patrick Demarchelier in the 2008 edition, and Botswana shot by Peter Beard a year later, 2010 is the year of Brazil and of American photographer Terry Richardson, the celebrated “enfant terrible” known for his provocative and outrageous approach. In the 30 images that scan the months of 2010, Terry Richardson depicts a return to a playful, pure Eros. Through his lens he runs after fantasies and provokes, but with a simplicity that sculpts and captures the sunniest side of femininity. He portrays a woman who is captivating because she is natural, who plays with stereotypes in order to undo them, who makes irony the only veil she covers herself with. This is a return to the natural, authentic atmospheres and images of the ‘60s and ‘70s. It is a clear homage to the Calendar’s origins, a throwback to the first editions by Robert Freeman (1964), Brian Duffy (1965) and Harry Peccinotti (1968 and 1969). Terry Richardson, like his illustrious predecessors, has chosen a simple kind of photography, without retouching, where naturalness prevails over technique and becomes the key to removing artificial excesses in vogue today to reveal the true woman underneath. -
Fashion Photography and the Museum by Jordan Macinnis A
In and Out of Fashion: Fashion Photography and the Museum by Jordan MacInnis A thesis presented to the Ontario College of Art & Design in partial fulfillment of the requirements for the degree of Master of Fine Arts in Criticism and Curatorial Practice Toronto, Ontario, Canada, 2011 © Jordan MacInnis 2011 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize OCAD University to lend this thesis to other institutions or individuals for the purpose of scholarly research. I understand that my thesis may be made electronically available to the public. I further authorize OCAD University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. Signature . Date . ii In and Out of Fashion: Fashion Photography and the Museum Master of Fine Arts, 2011 Jordan MacInnis Criticism & Curatorial Practice Ontario College of Art & Design University Abstract The past two decades have witnessed an increase in exhibitions of fashion photography in major international museums. This indicates not only the museum’s burgeoning interest in other cultural forms but the acceptance of fashion photography into specific art contexts. This thesis examines two recent exhibitions of contemporary fashion photography: “Fashioning Fiction in Photography Since 1990” at the Museum of Modern Art (April 16- June 28, 2004), the first exhibition of fashion photography at a major North American museum of art, and “Weird Beauty: Fashion Photography Now” at the International Center of Photography (January 16, 2009-May 3, 2009). -
FOR IMMEDIATE RELEASE Juergen Teller Teller Ga Kaeru Curated by Francesco Bonami Blum & Poe, Tokyo February 4 – April 1, 2
FOR IMMEDIATE RELEASE Juergen Teller Teller ga Kaeru Curated by Francesco Bonami Blum & Poe, Tokyo February 4 – April 1, 2017 Opening Reception: Saturday, February 4, 6-8 pm A donkey? How strange! Yet it is not strange. Any one of us might fall in love with a donkey! It happened in mythological times. — Fyodor Dostoyevsky, The Idiot (1869) Blum & Poe is pleased to present a solo exhibition of new work by Juergen Teller, curated by Francesco Bonami. This is the artist's first solo presentation in Japan in twenty-five years. Teller first made his mark on the public’s consciousness when his iconic pictures of Kurt Cobain were published in Details magazine in 1991. Thereafter, his first solo exhibition took place in Japan at Shibuya PARCO, Tokyo, in 1992, where he showed portraits and early fashion photographs. The following year he was the recipient of the 1993 Photography Prize at Festival de la Mode, Monaco. Since then Teller has collaborated with the world’s leading fashion designers including Marc Jacobs, Vivienne Westwood, Comme des Garçons, and Helmut Lang. The candid and casual nature of his work appears random yet it is based on precise planning and staging. This tension is evident in the bizarre scenario created for this exhibition, which debuts a new series of photographs depicting frogs on plates. As Francesco Bonami envisages it: "‘Once upon the time in a suburban neighborhood of an irrelevant country, people did not eat frogs but kissed them and made love with them’ — this could be the beginning of a fairy tale written by Juergen Teller while imagining this exhibition where frogs turn into a small crowd of viewers looking at the three main characters of the exhibition: the gentleman with the gorilla, the lady with the fox, and the man with the donkey. -
Large Print Guide
Large Print Guide You can download this document from www.manchesterartgallery.org Sponsored by While principally a fashion magazine, Vogue has never been just that. Since its first issue in 1916, it has assumed a central role on the cultural stage with a history spanning the most inventive decades in fashion and taste, and in the arts and society. It has reflected events shaping the nation and Vogue 100: A Century of Style has been organised by the world, while setting the agenda for style and fashion. the National Portrait Gallery, London in collaboration with Tracing the work of era-defining photographers, models, British Vogue as part of the magazine’s centenary celebrations. writers and designers, this exhibition moves through time from the most recent versions of Vogue back to the beginning of it all... 24 June – 30 October Free entrance A free audio guide is available at: bit.ly/vogue100audio Entrance wall: The publication Vogue 100: A Century of Style and a selection ‘Mighty Aphrodite’ Kate Moss of Vogue inspired merchandise is available in the Gallery Shop by Mert Alas and Marcus Piggott, June 2012 on the ground floor. For Vogue’s Olympics issue, Versace’s body-sculpting superwoman suit demanded ‘an epic pose and a spotlight’. Archival C-type print Photography is not permitted in this exhibition Courtesy of Mert Alas and Marcus Piggott Introduction — 3 FILM ROOM THE FUTURE OF FASHION Alexa Chung Drawn from the following films: dir. Jim Demuth, September 2015 OUCH! THAT’S BIG Anna Ewers HEAT WAVE Damaris Goddrie and Frederikke Sofie dir. -
Präsentation Des Kalenders 2020 “Looking for Juliet” Von Paolo Roversi in Verona
PRESSEMITTEILUNG PIRELLI: PRÄSENTATION DES KALENDERS 2020 “LOOKING FOR JULIET” VON PAOLO ROVERSI IN VERONA In Kombination mit einem Kurzfilm sucht Paolo Roversi nach dem Wesen der Julia Verona, 3. Dezember 2019 — “Looking for Juliet”, der von Paolo Roversi realisierte Pirelli Kalender für das Jahr 2020, wurde heute im Opernhaus von Verona präsentiert. Paolo Roversi hat sich dabei von William Shakespeares zeitlosem Drama inspirieren lassen. In der 47. Ausgabe des The Cal™ spricht er mit Claire Foy, Mia Goth, Chris Lee, Indya Moore, Rosalía, Stella Roversi, Yara Shahidi, Kristen Stewart und Emma Watson als Protagonistinnen die „Julia, die in jeder Frau lebt“ an. In diesem Jahr verschmilzt der Kalender erstmals Fotografie und Film, da er von einem Kurzfilm begleitet wird. In dem 18-minütigen Kurzfilm spielt Paolo Roversi sich selbst als Filmregisseur und interviewt Kandidatinnen für die Rolle der Julia. Nacheinander treten sie vor die Kamera des Regisseurs, um die facettenreiche Julia durch ein breites Spektrum an Emotionen und Ausdrucksformen darzustellen. Die Story gliedert sich in zwei Abschnitte. Im ersten Abschnitt werden die Darstellerinnen ohne Schminke und ohne Kostüme abgelichtet, während sie das Set betreten. Sie werden aufgenommen, während sie mit Roversi über das Projekt reden, in der Hoffnung, dafür ausgewählt zu werden. Sie sprechen über ihre eigenen Erfahrungen und ihre Vorstellung von Julia. Die Darstellerinnen öffnen sich einer intimen und ganz vertrauten Erzählung. Im zweiten Abschnitt tragen sie die Kostüme der Darstellerinnen in Shakespeares Tragödie. Der Effekt, der erzeugt wird, ist eine Story, in der Wirklichkeit und Fiktion ineinander übergehen, und die Grenzen, wie auf einigen Bildern, verschwimmen. „Ich war auf der Suche nach einer reinen Seele, geprägt von Unschuld, Willensstärke, Schönheit, Zärtlichkeit und Mut. -
A Century of Fashion Photography, 1911-2011 June 26 to October 21, 2018 the J
Icons of Style: A Century of Fashion Photography, 1911-2011 June 26 to October 21, 2018 The J. Paul Getty Museum at the Getty Center 4 4 1. Louise Dahl-Wolfe 2. Louise Dahl-Wolfe American, 1895 - 1989 American, 1895 - 1989 ICONS _FASH ICONS ION _FASH Keep the Home Fires Burning, 1941 ION Andrea, Chinese Screen, 1941 Gelatin silver print Gelatin silver print Image: 13.7 × 13.1 cm (5 3/8 × 5 3/16 in.) Image: 32.6 × 27.8 cm (12 13/16 × 10 15/16 in.) The J. Paul Getty Museum, Los Angeles The J. Paul Getty Museum, Los Angeles © 2018 Center for Creative Photography, © 1989 Center for Creative Photography, Arizona Board Arizona Board of Regents / Artists Rights Society (ARS), of Regents / Artists Rights Society (ARS), New York New York 84.XM.195.12 84.XM.195.7 4 4 3. George Hoyningen-Huene 4. Cecil Beaton American, born Russia, 1900 - 1968 British, 1904 - 1980 ICONS ICONS _FASH _FASH ION ION Model Posed with a Statue, New York, 1939 Debutantes—Baba Beaton, Wanda Baillie Hamilton & Gelatin silver print Lady Bridget Poulet, 1928 Image: 27.9 × 21.6 cm (11 × 8 1/2 in.) Gelatin silver print The J. Paul Getty Museum, Los Angeles Image: 48.7 × 35.1 cm (19 3/16 × 13 13/16 in.) © Horst The J. Paul Getty Museum, Los Angeles 84.XM.196.4 © The Cecil Beaton Studio Archive at Sotheby's 84.XP.457.16 June 21, 2018 Page 1 of 3 Additional information about some of these works of art can be found by searching getty.edu at http://www.getty.edu/art/collection/ © 2018 J. -
Financial Times Friday 5 September 2003 P. 10 'I'm So Ugly and Awful. I
Financial Times Friday 5 September 2003 p. 10 ‘I’m so ugly and awful. I’m like a monster’ Juergen Teller has turned his unblinkingly probing camera on himself, with results that are revealing both for viewers and for himself, says Charlotte Mullins It is unnerving to be interviewing a man you have previously seen in the buff. Whether coming out of a sauna, smoking on a football pitch or posing in his mum’s front room in Bavaria, Juergen Teller is always resolutely naked, his appendix scar, penis and paunch dewy with sweat, his eyes bleary, his hair mussed up. Teller’s nude self-portraits formed part of his winning Citibank Photography Prize exhibition at the Photographers’ Gallery in London earlier this year and are included in all his recent books. Gazing at dozens of these black-and-white prints before meeting him in the flesh, I came to feel as if I knew him, in all his imperfect glory, and to admire him for exposing his own form to the kind of scrutiny he usually reserves for supermodels and celebrities. But, as his forthcoming exhibition Don’t Suffer Too Much shows, these nude self-portraits actually reveal less about him than a simple film of him sitting, fully clothed, watching a football match. Teller is one of the most fêted fashion photographers of his generation, regularly shooting campaigns for designer Marc Jacob and features for Vogue. His starkly honest photographs expose his desire to capture the raw soul of every person he photographs and his books are filled with images of Kate Moss as a peroxide-haired blank canvas, Charlotte Rampling trashed in a hotel lobby and Yves San Laurent looking for all the world like a waxwork dummy. -
Cindy Sherman
Cindy Sherman Bibliographie / Bibliography Bücher und Kataloge / Books and catalogues 2019 Moorhouse, P.: ‘Cindy Sherman’, National Portrait Gallery, London. 2018 Hilton, A. et al., ‘Strange Days: Memories of the Future’, New Museum of Contemporary Art, New York. Friedewald, B.: ‘Women Photographers: From Julia Margeret Cameron to Cindy Sherman’, Prestel, New York, USA 2017 Ardaouil, S., Fellrath, T: ‘Ways of Seeing’, Arter Museum, Istanbul. Berne, B., Bonami, F.: ‘Cindy Sherman: Once Upon a Time, 1981-2011’, Mnuchin Gallery, New York. Butler, D. S.: ‘50 Years Highlights’, Binghamton University Art Museum, Binghamton. Cosulich, S.: ‘Think of this as a Window’, Mutina for Art, Fiorano. Etgar, Y.: ‘The Ends of Collage’, Luxembourg & Dayan, New York. Hoffmann, J.: ‘The ARCADES: Contemporary Art and Walter Benjamin’, The Jewish Museum, New York and Yale University Press, New Haven and London. Lebart, L.: ‘Les Grands Photographes du XXe Siécle’. Larousse, Paris. Lembke, K., Felicitas Mattheis, L.: ‘Silberglanz. Von der Kunst des Alters’, Landesmuseum Hannover, Hannover. ‘Life Word’, Collección CIAC, A.C. Mexico City. Luckraft, P.: ‘You Are Looking at Something that Never Occurred’, Zabludowicz Collection, London. Manné, J. G.: ‘Unpacking: The Marciano Collection’, Delmonico Books/Prestel, Munich, London, New York. ‘Nude: Masterpieces from Tate,’ Tate and Seoul Olympic Museum of Art, London and Seoul.. Phillips, L.: ‘40 Years New’, New Museum, New York. Van Beirendonck, W.: ‘Powermask – The Power of Masks’, Lannoo Publishers, Tielt, and Wereldmuseum Rotterdam, Rotterdam. 2016 Bethenod, M.: ‘Pinault Collection 07’, Pinault Collection, Paris. Berne, B., Sherman, C.: ‘Cindy Sherman’, Hartmann Books, Stuttgart. Berne, B., // Wallace, M., Buttrose, E., Leonard, R.: ‘Cindy Sherman’, QAGOMA, Brisbane.