DOCSLIB.ORG

A Collection of SUPREME Skateboards & Accessories

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Collection of SUPREME Skateboards & Accessories A Collection of SUPREME Skateboards & Accessories New York A Collection of SUPREME Skateboards & Accessories of SUPREME Skateboards & A Collection 10 December 2019 17615 A Collection of SUPREME Skateboards & Accessories AUCTION 26 November – 10 December 2019 Bid Online at christies.com/handbagsonline (Lots 190–295) This Sale will begin closing at 10 am EST on 10 December 2019 with Lot 1 REGISTER AND BID www.christies.com/handbagsonline In sending absentee bids or making enquiries, this sale should be referred to as 17615 VIEWING Friday 6 December 10.00 am - 6.00 pm Saturday 7 December 10.00 am - 6.00 pm Sunday 8 December 10.00 am - 6.00 pm Monday 9 December 10.00 am - 6.00 pm Tuesday 10 December 10.00 am - 5.00 pm SPECIALISTS CLIENT SERVICES Tel: +1 212 636 2000 Caitlin Donovan Email : [email protected] Head of Sale Tel: +1 212 641 3734 POST-SALE SERVICES [email protected] Ariel Chen Tel: +1 212 636 2339 Madeline Lee Hideko Nara Junior Specialist Tel: +1 212 636 2341 Tel: +1 212 641 7572 Post-Sale Coordinators [email protected] Payment, Shipping, and Collection HEAD OF SALE MANAGEMENT Tel: +1 212 636 2650 Devon Elovitz Email: [email protected] Tel: +1 212 641 5776 [email protected] CONDITIONS OF SALE Our Conditions of Sale • Buying at Christie’s INTERNATIONAL BUSINESS DIRECTOR contain the terms of our contract with you. Anoushka Mohamed By registering to bid in this auction and/or by bidding on any lot(s) in this auction, you agree GLOBAL MANAGING DIRECTOR to be bound by those terms. You can find our Aline Sylla-Walbaum Conditions of Sale • Buying at Christie’s on our website located at Christies.com/nyhandbags BUYING AT CHRISTIE’S For an overview of the process, see the Buying at Christie’s section. christies.com/handbags View catalogues and leave bids online at christies.com Hello all, Dear Collectors, I’ve been engaged as a sort of ‘consulting expert’ to weigh in on this sale. I’ve long Welcome to the inaugural auction of a Collection of SUPREME Skateboards & worked at the axis of the arts and fashion, and most recently have completed two Accessories at Christie’s in New York, November 26th – December 10th. It is with great exhaustive books on the subject of Supreme: Art on Deck: An Exploration of Supreme excitement that I present this highly curated sale which marks Christie’s entry into a new Skateboards from 1998-2018, and Object Oriented: An Anthology of Supreme collecting category that merges seamlessly and serendipitously the world of luxury Accessories from 1994-2018. The former released with Powerhouse Books November 19, collecting with the contemporary art market. 2019, and the latter with the same publisher January 20, 2020. Established in 1994 in downtown New York, only a few blocks from where I was born The books delve deeply into a few concepts that I find incredibly relevant to this culture, and raised, I can say with conviction that neither a Christie’s collector or skateboarder and also to this sale in particular. Much has been made of the ‘hype’ aspect of Supreme, alike would have foreseen the power that the small skate brand and its symbolic red box and of this burgeoning new art-cum-investment category in general. This is entirely logo would one day wield. justifiable, and has had the added benefit of exacerbating prices very quickly, as though they were mid-17th century Dutch tulip bulbs. This collection begins with the Copyright Boards, the very first set produced by Supreme in 1998, and continues to present day with over 230 individual skateboards, nearly The difference here, however, is that these objects are successful and sought over not every board produced by the brand. With a limited production run for many of these because of some sort of ‘roided out metastasization of hype, but because they are strongly earliest decks, most of the boards produced went straight from the store to the park, articulated objects that present a cohesive vision, both culturally and societally. making these early iterations rare and collectible, and our selection as a whole comprehensive and impressive. Objects from Air Jordans to Off White x Rimowa suitcases are being rabidly collected as investment opportunities, but none more fervently than Supreme’s output. Much as with the Over the past 21 years Supreme has collaborated with many of the most prolific and works of Pop Artists like Warhol and Lichtenstein in the 60s, displaying these objects in iconic contemporary artists whose works sell for upwards of millions of dollars at auction ones home provides not just an aesthetic impetus, but an totemic cultural one as well. and with shows featured at many of the most important galleries and prestigious art institutions in the world. With complete sets in pristine condition, our sale exemplifies Supreme’s objects (or accessories, if you prefer) represent a highly crafted collaborative the keen eye and dedication of our expert consignor Ibrahim Itani, owner of the highly vision of the broader culture, highlighting design icons not often thought of in the same regarded store Plus. scope as a Rietveld chair or a Poulsen lamp. A sort of quotidian alt-Design Museum. Like a Brillo Pad ‘box’, these objects are 3D pop art iconographs, imbued with the spirit of a Alongside the skateboards we are offering a selection of the most important and Duchampsian readymade. collectible accessories the brand has ever produced, from the Stern Pinball Machine and Coleman Mini Bike to the Fender Guitar and Louis Vuitton Monogram Malle The skate decks, for their part, retain this spirit, but add a layer, in that they are physically Courrier 90 Trunk. emblazoned with the work from some of the last half century’s most illustrious artists. I encourage you to browse our sale online and place your bids from anywhere in the Supreme has always managed to meld a range of influences and signifiers, and the world at www.christies.com/handbagsonline, and invite you to browse the complete curation of their artist series of skateboards is very much in keeping with that. Neo-graffiti collection during our auction preview at Christie’s New York, December 6 – 10th in free thinkers like Rammellzee share the stage with larger-than-life juggernauts such as our galleries at 20 Rockefeller Plaza. Please contact me directly with questions or to Damien Hirst and Takashi Murakami. schedule a time to view our remarkable collection in person. This show is a highly curated introduction to one of the world’s fastest growing collector Looking forward on embarking on this new collecting journey with you, and hope to see groups. The writing has long been on the wall, both physically and metaphorically. It’s you in New York soon. only going up from here. CAITLIN DONOVAN BYRON HAWES Head of Sale Author/Curator/Designer Handbags & Accessories Auction & Private Sale [email protected] @christieshandbags HOW TO BUY ONLINE 1. How do I register for the online auction? Works can be viewed in person at the Rockefeller Center galleries; viewing times are listed on the i. Visit christies.com/handbagsonline. auction calendar online. In addition, our specialists ii. Select any of the lots in the sale and click the are always on hand to help. Feel free to contact “Place Bid” button to either “Sign In” to an Caitlin Donovan at [email protected] or existing My Christie’s account or “Join Now” +1 212 641 2456. to create a new login.* iii. Choose your account from the drop-down 5. What is the final cost of my purchase? AUCTION LICENSE menu; fill in billing and shipping information For your convenience, Christie’s will calculate all Christie’s (#1213717) and credit card details. costs associated with your purchase before you iv. You will have an opportunity to change these bid. Simply click the “Estimated Cost Calculator” This is not BIDDING ON BEHALF OF THE SELLER FURTHER INFORMATION – NOT A CATALOGUE: details when you check out and your credit link on any lot page, and the total will include The auctioneer may, at his or her sole option, bid on behalf of the a catalogue for the auction. The sale of each lot is subject to card will not be automatically charged. You estimated shipping, sales tax, VAT, duties and any seller up to but not including the amount of the reserve either by the Important Notices, Conditions of Sale and Explanation of are now ready to bid. additional fees. making consecutive bids or by making bids in response to other Cataloguing Practice which are set out, with other important *Please note that even if you have an account with bidders. The auctioneer will not identify these as bids made on sale information, in the auction catalogue. The catalogue for this 6. If I win, what happens next? behalf of the seller and will not make any such bids at or above the auction may be viewed online at christies.com and is available in Christie’s, you may not have a My Christie’s login. reserve. hard copy from the sale room where the auction is taking place. At the conclusion of the online auction, you will 2. How do I bid? receive an email confirming whether or not you ESTIMATES AND RESERVES: Estimates are based on the SYMBOLS USED IN THIS PUBLICATION AND IMPORTANT have been the successful bidder on an item. condition, rarity, quality and provenance of the lots and on prices NOTICES: Please see the catalogue for full descriptions of the Bidding for Handbags & Accessories starts on November 26, 2019 at 10am EST and begins to The email will direct you to the checkout page recently paid at auction for similar property.
Load more

Recommended publications
  • Aaron J. Petten
    Aaron J. Petten The Ohio State University Telephone: 614.292.7481 Department of History of Art E-mail: [email protected] 305 Pomerene Hall 1760 Neil Avenue Columbus, OH 43210 Education 2012 Ph.D. Film Studies Title: The Grotesque and / in / through Film Supervisors: Dr. Paul Dave, Professor Mike O’Pray, Dr. Andrew Stephenson Examiners: Professor Julian Petley, Professor Martin Barker, Dr. Valentina Vitali University of East London School of Arts & Digital Industries 4-6 University Way London E16 2RD United Kingdom 2000 M.A. Film & Television Studies Universiteit van Amsterdam International School for Humanities and Social Sciences Prins Hendrikkade 189-B 1011 TD Amsterdam The Netherlands 1999 B.A. Interdisciplinary Studies (Cinema Studies & Popular Culture) Temple University The College of Liberal Arts 1114 West Berks Street Philadelphia, PA 19122 U.S.A. Employment History 2014 Lecturer The Ohio State University Department of History of Art 217 Pomerene Hall 1760 Neil Ave. Columbus, OH 43210 U.S.A. Aaron J. Petten Curriculum Vitae Page 1 of 6 2005-2010 Permanent Lecturer University of East London School of Architecture & Visual Arts (Now School of Arts & Digital Industries) 4-6 University Way London E16 2RD United Kingdom 2004 Sessional Lecturer University of East London School of Humanities & Social Sciences (Now School of Arts & Digital Industries) 4-6 University Way London E16 2RD United Kingdom 2001-2005 Sessional Lecturer University of East London School of Architecture & Visual Arts 4-6 University Way London E16 2RD United Kingdom Publications • “The Narrative Structuring and Interactive Narrative Logic of Televised Professional Wrestling.” New Review of Film and Television Studies 8.4 (2010).
    [Show full text]
  • “Highlights of a Trip to Hell” Contextualizing the Initial
    “Highlights Of A Trip To Hell” Contextualizing the Initial Reception of Larry Clark’s Tulsa by William T. Green A thesis project presented to Ryerson University and George Eastman House, Intentional Museum of Photography in Film In partial fulfillment of the requirements for the degree of Master of Arts in the program of Photographic Preservation and Collections Management Rochester, New York, United States and Toronto, Ontario, Canada, 2013 © William T. Green 2013 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 Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. William T. Green I further authorize Ryerson 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. I understand that my thesis may be made electronically available to the public. William T. Green ii Abstract Released in 1971, Tulsa, American artist Larry Clark’s career-launching first photobook, is today remembered as marking a watershed moment in American photography. This paper travels back to the era that Tulsa was first published to examine the book’s initial critical reception and significance within that specific cultural and artistic climate. It presents an abbreviated overview of Tulsa’s gradual creation; illustrates the ways in which the book was both similar to and different from other commonly cited contemporaneous works; and surveys its evolving status and reputation throughout the 1970s and into the early 1980s, when its second edition was published.
    [Show full text]
  • CMP Press Release
    3834 Main Street California Museum of Photography Riverside, CA 92501 Sweeney Art Gallery 951.827.3755 Culver Center of the Arts culvercenter.ucr.edu sweeney.ucr.edu University of California, Riverside cmp.ucr.edu artsblock.ucr.edu PRESS RELEASE For Immediate Release California Museum of Photography at UCR ARTSblock presents Unruly Bodies: Dismantling Larry Clark’s Tulsa Selections from the Permanent Collection of the California Museum of Photography June 10, 2016-January 28, 2017 Reception: Thursday, June 9, 6-9pm Reception is FREE and open to the public The California Museum of Photography presents Unruly Bodies: Dismantling Larry Clark’s Tulsa, on view at the museum from June 10, 2016 through January 28, 2017, featuring works from the museum’s permanent collection. The exhibition is guest curated by graduate students from the Department of the History of Art and the Public History Program as advised by Susan Laxton, Assistant Professor of the History of Art at UCR. Unruly Bodies will be celebrated during a public reception on Thursday, June 9, 6-9pm, and will be accompanied by public programming and a publication of student writing. This exhibition is a historically informed reassessment of the artist Larry Clark’s controversial first book, Tulsa (1971), a set of 50 images depicting a tight circle of friends and drug addicts in Tulsa, Oklahoma, photographed over a span of nine years (1963-71) by one of their number, Clark himself. On first appearing, the exposé was hailed as “a devastating portrait of an American tragedy” and embraced as an artistic watershed of participant-observer oriented personal documentary.
    [Show full text]
  • Bamcinématek Presents Skateboarding Is Not a Crime, a 24-Film Tribute to the Best of Skateboarding in Cinema, Sep 6—23
    BAMcinématek presents Skateboarding is Not a Crime, a 24-film tribute to the best of skateboarding in cinema, Sep 6—23 Opens with George Gage’s 1978 Skateboard with the director in person The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Brooklyn, NY/Aug 16, 2013—From Friday, September 6 through Thursday, September 12, BAMcinématek presents Skateboarding is Not a Crime, a 24-film tribute to the best of skateboarding in cinema, from the 1960s to the present. The ultimate in counterculture coolness, skateboarding has made an irresistibly sexy subject for movies thanks to its rebel-athlete superstars, SoCal slacker fashion, and jaw-dropping jumps, ollies, tricks, and stunts. Opening the series on Friday, September 6 is George Gage’s Skateboard (1978), following a lumpish loser who comes up with an ill-advised scheme to manage an all-teen skateboarding team in order to settle his debts with his bookie. An awesomely retro ride through 70s skateboarding culture, Skateboard was written and produced by Miami Vice producer Dick Wolf and stars teen idol Leif Garrett (Alfred Hitchcock’s daughter plays his mom!) and Z-Boys great Tony Alva. Gage will appear in person for a Q&A following the screening. Two of the earliest films in the series showcase the upright technique that dominated in the 60s. Skaterdater (1965—Sep 23), Noel Black’s freewheelingly shot, dialogue-free puppy-love story (made with pre-adolescent members of Torrance, California’s Imperial Skateboard Club) is widely considered to be the first skateboard movie. Claude Jutra’s cinéma vérité lark The Devil’s Toy (1966—Sep 23), is narrated in faux-alarmist fashion, with kids whipping down the hills of Montreal, only to have their decks confiscated by the cops.
    [Show full text]
  • 1 2 Gus Van Sant on Gummo 3 "Life Is Beautiful, Really It Is, Full of Beauty and Illusions." 4 Bio (B. 1974) 5 Larry C
    1 2 Gus Van Sant on Gummo “Venomous in story; genius in character; victorious in structure; teasingly gentle in epilogue; slapstick in theme; rebellious in nature; honest at heart; inspirational in its creation and with contempt at the tip of its tongue…” 3 "Life is beautiful, really it is, full of beauty and illusions." 4 Bio (b. 1974) Started NYU, dropped out after a semester Met photographer Larry Clark in Washington Square Park, 18 years old Wrote script for Clark’s 1995 Kids 5 Larry Clark: Tulsa 6 Bio (b. 1974) Becomes a celebrity/curiosity with an edgy/dangerous screenplay; talent to watch Fine Line (which produced Kids) funds his $1m production, Gummo (1997) Fine Line again: Julien donkey-boy (1900), which he proclaims Dogme #6 film. Screenplay for Larry Clark’s Ken Park (2002) 7 Diane Arbus 8 Docu-fictional characters “When I go to the movies, there's usually nothing on the screen that compels me, and with this film I wanted to see people who were amazing looking. I was watching an episode of Sally Jesse Raphael called "My Died From Sniffing Paint,"and I saw this kid on it named Nick[Sutton] who's a paint- sniffing survivor. They asked him, "Where are you going to be in a few years?"and he said, "I'll probably be dead." I loved him and wanted him to star in the film, so we tracked him down. He told me he'd been on acid on the show.” 9 Borders & Edges 10 Casting Tummler seen on Sally Jesse Raphael Show Solomon seen as extra in The Road to Wellville Chloe Sevigny: American Psycho Max Perlich: Homicide (TV) Linda Mantz (Solomon’s Mom): Boardwalk 11 Film School Herog: “I guess you didn’t go to film school.” HK: “ I hate that shit.
    [Show full text]
  • MEDIA ALERT Los Angeles Premiere of WASSUP ROCKERS with Cast
    MEDIA ALERT First Look Studios & the American Cinematheque at the Egyptian Theatre Present Los Angeles Premiere of WASSUP ROCKERS with Cast and Crew In Person WHO: Larry Clark writer, director WASSUP ROCKERS director of KIDS, BULLY Janice Dickinson (WASSUP ROCKERS, “The Janice Dickinson Modeling Agency”) Jeremy Scott (Fashion Designer, cameo in WASSUP ROCKERS) Sam Spiegel (DJ and Music Producer, cameo in WASSUP ROCKERS) Cast of the Film Leo Fitzpatrick (starred in Kids) Rhys Coiro (“Entourage”) Lisa Bonet Pro-Skaters Mike Chin, Chad Muska, Danny Minnick, Pancho Molar WHEN: Tuesday, June 27th @ 6:30 PM WHERE: Egyptian Theatre Courtyard, 6712 Hollywood Blvd. Los Angeles, CA Partial Validation at Hollywood and Highland. WHAT: Los Angeles Premiere of WASSUP ROCKERS with a party and skateboarding following Wassup Rockers Premiere – June 27, 2006 1 THE FILM Tuesday, June 27 – 7:30 PM Sneak Preview! Director Larry Clark In-Person! WASSUP ROCKERS, 2006, First Look Pictures, 111 min. Ten years after KIDS, director Larry Clark hits the streets of South Central Los Angeles with this film based on the real-life experiences of a group of Latino teen-agers who do not conform to the hip hop culture of their gang-infested neighborhood. They wear their clothes tight, listen to and play punk rock and ride skateboards. Constantly harassed for being different, they fight to be themselves. The film tracks their excursion into the heart of Beverly Hills to skate the famous "Nine Stairs" at Beverly Hills High. When the rockers attract the attention of some Beverly Hills girls fascinated by their style, mayhem ensues and their afternoon odyssey begins.
    [Show full text]
  • Larry Clark 26.5.–12.8.2012 Oranienburger Str
    Press information Larry Clark 26.5.–12.8.2012 Oranienburger Str. 35/36 . 10117 Berlin . Täglich 11–20 Uhr 10/ermäßigt 5 Euro . Tel 030 28 44 41 60 . www.co-berlin.com © Larry Clark, detail from the collage I want a baby before u die, 2010 . Courtesy of Luhring Augustine, New York / Simon Lee Gallery, London . Design www.naroska.de Larry Clark Adolescent beauty, sexuality and drug-induced action – Larry Clark radically and realistically documents the everyday life of US teenagers, transgressing bourgeois moral concepts. From the drug scene in his hometown of Tulsa in the early 1960s to contemporary skaters in Los Angeles his works capture extremely intimate moments. The authenticity of Clarke’s images expose the consequences of a dysfunctional society and question the social responsibility and moral stance of its members. The revolutionary and unique aspect of his photographs is – to this day – the closeness and intimacy between him and the documented persons and situations. As opposed to a classical photo-journalist who views an unfamiliar world from the outside, Larry Clark does not only take an interest in the life of his protagonists. Far removed from any form of voyeurism, he himself is a fundamental part of the scene he photographs. It seems as if he has a familiarity with the persons portrayed rather than just observing them. Without Larry Clark, photography would not have freed itself from the constraints of objectivity. Hardly any other photographer has ever achieved the same degree of intensi- ty with which he immerses himself in his subject. It is here that the artist revives his own youth – each time with new protagonists.
    [Show full text]
  • Txt Henric F
    Larry Clark : “an eye in the storm” (un oeil dans la tempête) Interview by Raphael Cuir (06.02.07) Raphael Cuir: Your photographic work has been related to that of Robert Frank and Diane Arbus, do you souscribe to these connections ? Larry Clark: People like Robert Frank inspired me. But I was really influenced more by people like Lenny Bruce. He was all about the truth and he cut through the bullshit and he was always commenting on the hypocrisy of America, which I was living and seeing, that was important to me, so I was really influenced by those kind of people. RC: - Concerning the Tulsa series, you were really part of the scene you photographed, you were really into it, having drugs and sex with those people on the photographs – how did you manage though, to take the photographs ? LC: Well, you know I’ve had a camera in my hands since I was super young. And then I just had this epiphany one day that I could photograph my friends, cause I’ve never seen anything like this. I was coming out of the 1950s where everything was repressed and back then in America, there was no talk of drugs and things like that, it wasn’t suppose to exist, but it did exist. I was just kind of practicing my photography at first and if you look at the Tulsa book its mostly rooms. So we’re talking about fairly small confided spaces and the Leica was very quiet, I couldn’t have done it with a simple reflex camera, where the mirrors smash together, the Leica was very, very quiet and everybody got used to it pretty quickly.
    [Show full text]
  • Larry Clark Og Tulsa
    Larry Clark og Tulsa av Lene Hoem Røysum Masteroppgave i kunsthistorie Veileder: Øivind Storm Bjerke Institutt for filosofi, idé- og kunsthistorie og klassiske språk Det humanistiske fakultet, Universitetet i Oslo Våren 2009 1 Sammendrag: I denne oppgaven har jeg tatt for meg Larry Clark og hans fotografier med hovedvekt på monografien Tulsa . Larry Clark revolusjonerte dokumentarfotografisjangeren ved å bruke sitt eget liv på en helt særegen måte, og ved både å være deltager og tilskuer i fotografiene sine. Da Clark i stor grad bearbeider selvbiografisk materiale har jeg vurdert det som viktig å presentere hans personlige bakgrunn og historie, ettersom dette har hatt stor betydning for miljøet han endte opp i, og dermed har vært viktig for ikonografien i fotografiene i boken Tulsa . Jeg har plassert Larry Clark i en kultur- og kunsthistorisk kontekst, for å se hvor hans måte å fotografere kommer fra. Ved å ta for meg både samtidige og tidligere fotografer har jeg vist hvor banebrytende hans måte å fotografere sitt eget liv er. Jeg har derfor gjort rede for de sider ved det dokumentariske fotografiets historie jeg mener er av særlig relevans. Robert Frank har betydd mye for hvordan Clark utviklet sin fotografiske stil, og W. Eugene Smith og hans fotoessay skal også ha vært en inspirasjonskilde. Jeg har også kommet inn på Clarks forhold til fotoboktradisjonen. Jeg har tatt for meg helheten i boken, og Tulsa s oppbygging, inndeling og innhold, men jeg har også sett nærmere på de enkelte fotografiene i boken, og foretatt analyser av noen av bildene. Jeg har gjort rede for fototekniske aspekter ved Larry Clarks bilder, og beskrevet hvordan han benytter seg av teknikk for å få frem det uttrykket han ønsker i bildene sine.
    [Show full text]
  • Teenage Flicks
    TEENAGE FLICKS Week 6: Indie Kids - The independents take on the teen Black Representation ‘There can be little doubt that comic representation of African-Americans has been used as a way to aid the legitimation of racial inequalities. Early American film inherited a set of racist caricatures from forms such as Vaudeville, the minstrel show and the dominant culture at large…’ (Leob 1975) Early Black Representation • The Wooing and Wedding of a Coon (1907) • The Pickaninnies (1908) • Rastus in Zululand (1910) • The Sambo Series(1909-1911) • How Rastus Got His Turkey (1910) • Chicken Thief (1910 or 1911) The Hays Code ‘…the Code also held up the strong sense of racial apartheid and paranoia of the times by expressly stating that miscegenation, or mixing of the races, was to be portrayed as in no way desirable…Notably though, the taboo against miscegenation, whether explicitly articulated as in the original Hays Code or more implicitly just understood and practiced, has remained in force over the long continuum of dominant cinema’s reign.’ Ed Guerrero (Fever in the Racial Jungle) Blaxploitation Films of the 70s ‘Hollywood courted an urban black audience in this period as part of its efforts to escape its economic difficulties. When stability returned to the studios in the latter part of the decade they sought to keep this without alienating white viewers.’ Geoff King 80s Representation ‘Black star performers (in this era) were kept in “protective custody”, by being paired with white co-stars, or removed from any on-screen presence within
    [Show full text]
  • Reassessing Morality, Sexuality and Desire in Kids (1995)
    Are You Kidding? Reassessing morality, sexuality and desire in Kids (1995) By Jason Lee (July 2018 version - published version embargoed by Intellect for 1 year) Keywords: Kids, nihilism, morality, Luce Irigaray, Harmony Korine, sexual abuse, children, capitalism It is no exaggeration to claim that the 23 years since the release of Kids have witnessed an ongoing obsession with children and sex. As James Kincaid (1994, 2000) has so expertly shown, this is nothing new and, in many ways, this is the foundation of recent culture. The excessive, simultaneous media worship and scorn, in the mid-1990s, of Harmony Korine, the 21-year-old screenwriter of Kids (directed by Larry Clark, 1995), indicated that Korine was powerfully unearthing divisive issues of the period concerning youth culture and boundaries. In an interview with The Guardian in June 2015, in preparation for the twentieth anniversary screening, Korine claimed that there was no way the film could be made today (Locker 2015). Too many people now would see the film as far too dangerous, it just would never get off the ground, but from a comparative perspective it is beneficial to explore the film across time. The American teen obsession with sex and weed is depleting. Teen birth rates hit a record low in 2017, with Time reporting in 2018 a drop in American students claiming they have had sexual intercourse from 47 per cent in 2005 to 41 per cent in 2015 (Sifferlin 2018). For Korine the film just depicted normality, and was far less contrived than ordinary filmmaking, with Clark not having directed before and the actors not having acted.
    [Show full text]
  • Larry Clark: Adolescencia, Drogas Y Sexo
    Arte·y·políticas·de·identidad © Copyright 2009: Servicio de Publicaciones de la Universidad de Murcia. Murcia (España) 2009, vol. 1, (diciembre) ISSN edición impresa: 1889-979X. ISSN edición web (http://revistas.um.es/api): (en trámites) 23-48 Larry Clark: adolescencia, drogas y sexo Antoni Jové Albà * Centre d’Art la Panera, Lleida *Dirección para correspondencia (Correspondence address): Antoni Jové Albà ,Centre d’Art la Panera, Plaza de la Panera, 2, 25002 Lleida (España). e-mail: [email protected] Larry Clark: adolescencia, drogas y sexo I Antoni Jové Albà Title Larry Clark: adolescence, drugs, sex. Abstract This article is an approach to the work of the American photographer and filmmaker Larry Clark, from his early work in both mediums, respectively. The two works that are discussed in the article are the photography book Tulsa (1962-1971) and the film Kids (1995). From the beginning his works have openly addressed to violence, sex and consumption of toxic substances among adolescents. These two works are crucial to understanding how Clark describes the adolescence and the subsequent development of other works, as far as Tulsa and Kids act as bases from which growth other no less interesting projects. Key words photography - film - adolescence - drugs - sex Resumen Este artículo consiste en una aproximación a la obra del fotógrafo y director de cine americano Larry Clark a partir de sus primeros trabajos en ambos medios, respectivamente. Las dos obras que se estudian en el artículo son el libro de fotografía Tulsa (1962-1971) y la película Kids (1995). Desde sus inicios sus obras han abordado abiertamente la violencia, el sexo y el consumo de tóxicos entre los adolescentes.
    [Show full text]