Posts Tagged ‘black and white’
July 1, 2016 | by A. N. Devers
At an auction in December 2010, I acquired a double-breasted men’s mink fur stroller coat owned by Edward Gorey. It was an unlikely purchase: I hadn’t intended to bid on anything, had never been to a proper auction before, and had very little money to my name.
I was there to write something about the once-in-a-lifetime auction of Gorey’s personal hoard of fur coats—twenty-one in all. I was a Gorey fan, not, outside a first edition or two, a collector. But that morning, I had deposited a meager paycheck from adjunct professing, and I began to feel the emergence of a dream. I could own the coat. Why couldn’t I at least try? I could at least pretend to be that person who wins precious objects at auction. Read More »
May 3, 2016 | by Caitlin Love
Our dual subscription deal with Lucky Peach technically ended last week, but we’re extending it because we’ve still got food and drink on the mind—especially after flipping through The Photographer’s Cookbook, out next month from Aperture and the George Eastman Museum. Commissioned by the latter in the late seventies, the book showcases recipes and pictures from the era’s leading photographers; it was never published before now. Below are five of our favorite photo/recipe combos, including Stephen Shore’s Key lime pie supreme, Imogen Cunningham’s borscht, and a classic down-South dish from the master of seventies color photography himself: William Eggleston’s cheese-grits casserole. —Caitlin LoveRead More »
March 17, 2016 | by Dan Piepenbring
The Malian photographer Malick Sidibé’s latest exhibition opens tonight at Jack Shainman Gallery. Sidibé, who’s seventy-nine or eighty, lives in Bamako, where he’s worked as a photographer since the fifties; he’s known for his vivacious black-and-white studies of the city’s youth culture. “You go to someone’s wedding, someone’s christening,” he told LensCulture in 2008, speaking of the renown he gained as a party photographer:
I was lucky enough at that time to be the intellectual young photographer with a small camera who could move around. The early photographers like Seydou Keïta worked with plate cameras and were not able to get out and use a flash. So I was much in demand by the local youth. Everywhere … in town, everywhere! Whenever there was a dance, I was invited … At night, from midnight to four A.M. or six A.M., I went from one party to another. I could go to four different parties. If there were only two, it was like having a rest. But if there were four, you couldn’t miss any. If you were given four invitations, you had to go. You couldn’t miss them. I’d leave one place, I’d take thirty-six shots here, thirty-six shots there, and then thirty-six somewhere else, until the morning.
His new show spans the whole of his career; it’s up through April 23. Read More »
November 5, 2012 | by Dave Tompkins
The Invisible Man, neat freak by design, was known to fuss over the grit beneath his fingernails. According to British horror historian Denis Gifford, dirt threatened transparency. In A Pictorial History of Horror Movies, Gifford sees “a pair of disembodied trousers skipping down the lane to ‘Here We Come Gathering Nuts in May.’” The hands are clean.
For Gifford, the devil was in the details, if not in all of us: “We who came to stare only see ourselves.” Or through ourselves. He notes the shabbiness of Mr. Hyde’s tailcoat, and the yak-hair transplants on the Wolfman’s face. Also important: “a sinister sofa,” controlled by an underground switchboard operated by a man in a wig. And Frankenstein’s homunculus, taken out by a falling crossbeam no fewer than four times in his film career.
These images were filtered through words I’d just discovered. Until last week, I had never actually read the most important book of my childhood. The text had gone unseen. My mother had given A Pictorial History of Horror Movies to my brothers as a Christmas gift in 1973. She still cheerily refers to it as “that book with the girl with the hatchet in her head.” I was forbidden to read it but was never told I couldn’t look at it. Read More »