{"id":6368,"date":"2009-11-20T04:01:15","date_gmt":"2009-11-20T03:01:15","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=6368"},"modified":"2009-11-20T04:01:15","modified_gmt":"2009-11-20T03:01:15","slug":"edmund-teske","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2009\/11\/20\/edmund-teske\/","title":{"rendered":"Edmund Teske"},"content":{"rendered":"

\"teske1.jpg\"<\/p>\n

Kenneth Anger, Topanga Canyon, California, Composite (1954).<\/em><\/p>\n

This portrait of a dashing Kenneth Anger juxtaposes the filmmaker with an engraving by Gustave Dor\u00e9 for Paradise Lost<\/em><\/a>. Like his contemporary Emil Cadoo<\/a>, photographer Edmund Teske<\/a> (1911\u20131996) often concealed the homoerotic nature of his pictures by rendering them “artistic” through double-exposure. Teske was friends with rock group The Doors, and a number of his studies of Jim Morrison and co. are very familiar from histories of the band.<\/p>\n

Via Bajo el Signo de Libra<\/a>.<\/p>\n

\"teske2.jpg\"<\/p>\n

Nude, Davenport, Iowa, Composite with Leaves (1941\/46).<\/em><\/p>\n

Previously on { feuilleton }
\n\u2022 Emil Cadoo<\/a>
\n\u2022 The art of Robert Flynt<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Kenneth Anger, Topanga Canyon, California, Composite (1954). This portrait of a dashing Kenneth Anger juxtaposes the filmmaker with an engraving by Gustave Dor\u00e9 for Paradise Lost. Like his contemporary Emil Cadoo, photographer Edmund Teske (1911\u20131996) often concealed the homoerotic nature of his pictures by rendering them “artistic” through double-exposure. Teske was friends with rock group … Continue reading “Edmund Teske”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[7,5,3,12],"tags":[819,750,593,4949,401],"class_list":["post-6368","post","type-post","status-publish","format-standard","hentry","category-film","category-gay","category-music","category-photography","tag-edmund-teske","tag-emil-cadoo","tag-gustave-dore","tag-jim-morrison","tag-kenneth-anger"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-1EI","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/6368","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=6368"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/6368\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=6368"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=6368"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=6368"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}