Wednesday, August 31, 2011
Tuesday, August 30, 2011
Sunday, August 28, 2011
Thursday, August 25, 2011
Wednesday, August 24, 2011
Tuesday, August 23, 2011
Monday, August 22, 2011
Sunday, August 21, 2011
Thursday, August 18, 2011
Rodarte: Catherine Opie and Alec Soth
I'm so excited! This book is finally coming out after almost 6 months of changing publication dates I should have it by the end of next week.
"California Condors, Boris Karloff as Frankenstein, Japanese horror films and Gordon Matta-Clark are among the many influences that make up the world of Rodarte. In just five short years, Rodarte has upended the fashion scene, bringing Kate and Laura Mulleavy, the designers behind the company, to the forefront of contemporary design and visual culture. Kate and Laura, who live and work between downtown Los Angeles and Pasadena, California, have consistently brought their love of nature, film, art and science to bear upon their unconventional and exquisitely crafted collections. Burning, sanding, dyeing, knitting, twisting, staining and weaving are some of the many complex techniques that have entered into the Rodarte textural vocabulary. Kate and Laura's past collaborations have included artists, actors, musicians and writers such as Miranda July, Autumn de Wilde, Ryan McGinley, Ari Marcopoulos and Darren Aronofsky. Created in collaboration with two of the art world's most sought-after and acclaimed photographers, Catherine Opie and Alec Soth, this is the first publication to examine the world of Rodarte"
"California Condors, Boris Karloff as Frankenstein, Japanese horror films and Gordon Matta-Clark are among the many influences that make up the world of Rodarte. In just five short years, Rodarte has upended the fashion scene, bringing Kate and Laura Mulleavy, the designers behind the company, to the forefront of contemporary design and visual culture. Kate and Laura, who live and work between downtown Los Angeles and Pasadena, California, have consistently brought their love of nature, film, art and science to bear upon their unconventional and exquisitely crafted collections. Burning, sanding, dyeing, knitting, twisting, staining and weaving are some of the many complex techniques that have entered into the Rodarte textural vocabulary. Kate and Laura's past collaborations have included artists, actors, musicians and writers such as Miranda July, Autumn de Wilde, Ryan McGinley, Ari Marcopoulos and Darren Aronofsky. Created in collaboration with two of the art world's most sought-after and acclaimed photographers, Catherine Opie and Alec Soth, this is the first publication to examine the world of Rodarte"
Wednesday, August 17, 2011
Saturday, August 13, 2011
Friday, August 12, 2011
Thursday, August 11, 2011
Frances Bean Cobain
Beautiful photos of Frances Bean Cobain. (From this site: hedi slimane .)
Makes me think of Seattle and makes me feel a little old.
Makes me think of Seattle and makes me feel a little old.
Wednesday, August 10, 2011
Patriarchs, pugilists, and peacemakers: Interrogating masculinity in Irish film.
Wish I could take this seminar: Book link click here
Examining representations of gender from a postcolonial feminist perspective, Patriarchs, Pugilists, and Peacemakers: Masculinity in Irish Film analyzes select works of three popular filmmakers whose careers, taken together, span the period from 1939 to the present.1 I argue that these three artists---John Ford, Jim Sheridan, and Paul Greengrass---explore fundamental questions about patriarchy and violence within Irish and Irish-American contexts, and that, in the process, they upset conventional notions of masculine authority. Investigating alternative conceptions of manhood presented in these films, as well as these filmmakers' complex engagement with Hollywood film genres, I offer a fuller understanding of their subtle critiques of patriarchy. I contend that their illustrations of socially sanctioned male dominance in the lives of women, as well as their portrayals of male and female resistance to patriarchy, constitute a subversive challenge to traditional order.
In the process, I address gendered archetypes that are prevalent in Irish and American cinemas and analyze the ways in which Ford, Sheridan, and Greengrass employ and critique these masculine types through their portrayals of fathers, sons, boxers and pacifists. Ultimately, I argue that the recent Irish films of Sheridan and Greengrass gesture toward future modes of manhood that completely disavow patriarchy and violence. In sum, this project plots a trajectory of Irish cinema during the twentieth and early twenty-first centuries, charting a progression from ambivalent critique of patriarchy (in the films of John Ford) to outright rejection of patriarchal masculinity (in Jim Sheridan's work) to reconceptualization of manhood and the family (in the Irish films of Sheridan and Paul Greengrass)
Examining representations of gender from a postcolonial feminist perspective, Patriarchs, Pugilists, and Peacemakers: Masculinity in Irish Film analyzes select works of three popular filmmakers whose careers, taken together, span the period from 1939 to the present.1 I argue that these three artists---John Ford, Jim Sheridan, and Paul Greengrass---explore fundamental questions about patriarchy and violence within Irish and Irish-American contexts, and that, in the process, they upset conventional notions of masculine authority. Investigating alternative conceptions of manhood presented in these films, as well as these filmmakers' complex engagement with Hollywood film genres, I offer a fuller understanding of their subtle critiques of patriarchy. I contend that their illustrations of socially sanctioned male dominance in the lives of women, as well as their portrayals of male and female resistance to patriarchy, constitute a subversive challenge to traditional order.
In the process, I address gendered archetypes that are prevalent in Irish and American cinemas and analyze the ways in which Ford, Sheridan, and Greengrass employ and critique these masculine types through their portrayals of fathers, sons, boxers and pacifists. Ultimately, I argue that the recent Irish films of Sheridan and Greengrass gesture toward future modes of manhood that completely disavow patriarchy and violence. In sum, this project plots a trajectory of Irish cinema during the twentieth and early twenty-first centuries, charting a progression from ambivalent critique of patriarchy (in the films of John Ford) to outright rejection of patriarchal masculinity (in Jim Sheridan's work) to reconceptualization of manhood and the family (in the Irish films of Sheridan and Paul Greengrass)
Tuesday, August 9, 2011
Monday, August 8, 2011
Sunday, August 7, 2011
Saturday, August 6, 2011
Friday, August 5, 2011
Wednesday, August 3, 2011
Tuesday, August 2, 2011
Monday, August 1, 2011
Claret
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