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Wednesday 31 January 2018
Tuesday 30 January 2018
Monday 29 January 2018
Thursday 25 January 2018
Saturday 20 January 2018
Kazuo Kitai / Sanrizuka 1969-1971
Kitai's document of the Sanrizuka farmers opposition to the Japanese government's plan to build Narita airport.
Juergen Teller / Jigsaw Menswear Autumn Winter 1997-1998
A man falling from a building, rolling down stairs and falling from a bicycle. Teller's A/W 1997 campaign for Jigsaw was a starck departure from conventional fashion photography. Grainy, blurred and capturing scenes rather than clothes Teller employed professional stuntmen to re-enact a series of movements and scenarios. He stated himself he was uninterested in pieces of clothing, rather what happens in them. At the time the work was referred to as disaster pictures and has more in common with Weegee, Bourdin or Longo's Men in Cities than his direct contemporaries. His brief work for Jigsaw may be his best and most adventurous- certainly a highlight of nineties fashion photography.
Chanel : Le Journal D'une Montre
Deluxe one off publication, designed and art directed by Egoiste's Wisniak and Morillon. Aside of Bourdin's 16 page contribution there's Ines de la Fressange, Sagan, Serge Bramly, an interview with a watch, Caroline de Monaco. Bourdin's work is stunning, very seldom seen and extremely well art directed.
Yohji Yamamoto Fall Winter 1998/1999
No ordinary look book here, Inez and Vinoodh shoot, Maggie Rizer models, and M/M art direct. Very surreal props, framing, lighting and connotations of witchcraft vie for equal attention with the clothes, which of course are super.
Michael Clark Company v The Fall : I am Curious, Orange
One of Michael Clark's better known outings- in collaboration with the Fall. With Leigh Bowery, lighting by Charles Atlas and costumes by Bodymap. Traditional 'high culture' gets the post punk/new wave treatment!
Michael Clark Company : Because We Must
Programme for Michael Clark's stunning piece with Charles Atlas, Bodymap and Leigh Bowery.
Masahisa Fukase / Yohko (signed)
Yohko was published 2 years after their divorce, and is much about loss as about the joys of life. Fukase shot her as a primary subject over 13 years, to the point of violent obsession. Yoko herself described their life together as 'suffocating dullness interspersed by violent and near suicidal flashes of excitement'. The narrative of the images are really a collaboration, as she is very much complicit and often posing for the camera, and it's a beautiful and almost biographical piece of work, albeit heavily edited. It is of course now common knowledge that Ravens was shot in the aftermath of the divorce, and some of the earliest images appear here, pre-dating the standalone book by 8 years. Signed examples are extremely scarce, with most Fukase signatures being much later, and seldomly of this title.
Section 25 and Quando Quango at The Ritz
Poster issued by the short lived Factory New York arm set up by Wilson with Michael Shamberg in charge. Factory NY was built with funds from the success of Joy Division, but declined and untimately ceased operation a few years later due to the disasterous Hacienda back in Manchester sucking up all the money. During the time Factory NY operated, a number of singles were issued, and concerts organised (most notable New Order at The Paradise Garage). The visual identity was a little more fluid than the UK operation, with numerous artists contributing to sleeves and posters. Lawrence Weiner, through his relationship with Shamberg designed four posters. Appears in Lawrence Weiner Posters November 1965-April 1986.
New Order : Substance 1987 (OFNY P34 NEW ORDER 1987)
Poster issued by the short lived Factory New York arm set up by Wilson with Michael Shamberg in charge. Factory NY was built with funds from the success of Joy Division, but declined and untimately ceased operation a few years later due to the disasterous Hacienda back in Manchester sucking up all the money. During the time Factory NY operated, a number of singles were issued, and concerts organised (most notable New Order at The Paradise Garage). The visual identity was a little more fluid than the UK operation, with numerous artists contributing to sleeves and posters. Lawrence Weiner, through his relationship with Shamberg designed four posters, of which this was the last.
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