Collage by Jeneleen Floyd.
• “…slowly, block-by-block, pedestrians are starting to take back the streets.” Wayne Curtis on the hazards of being a pedestrian in a world of cars.
• Michael Hann looks back at LA’s Paisley Underground, and also talks to some of its key members.
• Meighan O’Toole interviews JL Schnabel about her Blood Milk jewellery designs.
My central thesis is that camp was always a kind of signifying practice invented out of necessity (both for survival and for sheer creative pleasure) by “queer” (in the classic sense) outsiders – fags, drag queens, transsexuals, deviants, sexual renegades – and that it was always by its very nature deeply political and committed: Some people dedicated their entire lives to it! Sontag’s interpretation always seemed a bit dismissive to me somehow.
The seldom unprovocative Bruce LaBruce talking to Mark Allen about camp in the 21st century.
• Studiocanal launches an appeal to find the lost materials of The Wicker Man.
• At Flickr: Tales from a Parallel Universe and London’s Lost Music Venues.
• Michael Wood tells us what we learn when we read Italo Calvino’s letters.
• Fragments of a Portrait: Francis Bacon and David Sylvester in 1966.
• An extract of a live session from Adrian Sherwood and Pinch.
• In Baba Yaga’s Hut: Amelia Glaser on Russian folk tales.
• Buckminster Fuller Book Covers from the 1970s.
• A Century of Proust.
• The Real World (1982) by The Bangles | With A Cantaloupe Girlfriend (1982) by The Three O’Clock | Medicine Show (1984) by The Dream Syndicate | No Easy Way Down (live in Tokyo, 1984) by The Rain Parade
One of a series of illustrations by Vera Bock for A Ring and a Riddle (1944) by M.Ilin and E. Segal. Via A Journey Round My Skull.
• The Creator of Devotion: Photos from a Vogue Hommes Japan feature by Matthew Stone. And also here.
• Dressing For Pleasure: Jonny Trunk gets out the rubber gear. Related: King of Kinky.
• Salvator Rosa (1615–1673) is having a show at the Dulwich Picture Gallery, London.
• Hackney Dissenting Academy #1: Throbbing Gristle, Iain Sinclair & Alan Moore.
• Out Of The Flesh (1984) by Chakk. A great single never reissued on CD.
• Photographer Charles Gatewood remembers William Burroughs.
The Endless Mural. Follow links here to have a play around.
• Vinyl record sales are at the top of a four-year sales trend.
• Can explosions move faster than the speed of light?
• Buckminster Fuller’s Dymaxion Car is reborn.
• Maximus Clarke talks with William Gibson.
• Why Stephen Fry loves Wagner.
• Kafka’s Last Trial.
• Alice Coltrane in concert, Warsaw, 1987: Harp solo | Impressions | Lonnie’s Lament | A Love Supreme.
Such Cheek! Those Were the Days, Architects
by Nicolai Ouroussoff
New York Times, February 8th, 2007
IF YOU ARE revolted by today’s slick and fashion-obsessed architecture scene, hurry over to ‘Clip/Stamp/Fold: The Radical Architecture of Little Magazines‘ at the Storefront for Art and Architecture. You’ll feel even worse.
Organized by the architectural historian Beatriz Colomina, the show examines the world of those small magazines from the early 1960s to the end of the 1970s, when the field of architecture was still marked by a playful intellectual and political independence. It’s packed with gorgeous cover images, from copulating robots to an elephant attacking the Solomon R. Guggenheim Museum in Manhattan to a skyscraper made of Swiss cheese. Often thrown together on a shoestring budget, the magazines have an intoxicating freshness that should send a shudder down the spine of those who’ve spent the last decade bathed in the glow of the computer screen.
But this is not an exercise in nostalgia. It’s a piercing critique, intended or not, of the smoothness of our contemporary design culture. These magazine covers map out an era when architecture was simmering with new ideas. You’re bound to leave the show with a nagging sense of what was lost as well as gained during the electronic juggernaut of the last three decades.
Part of the magic of this show, which was recently extended for three more weeks, is in the works’ crude immediacy. One side of the gallery is wallpapered in hundreds of colorful magazine covers. On the opposite wall a more detailed timeline maps out the evolution of the culture of architectural magazines, from an obsession with politics and pop culture to a descent into increasingly abstruse and self-involved theoretical debates. The rarest magazines are encased in clear plastic bubbles (made of cheap plastic skylights that the show’s curators bought on Canal Street), evoking time capsules descended from outer space.
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