Category Archives: eye candy

Lucy, a hypothetical primate

The butler[0] told me that yesterday at Düsseldorf he also saw Transplant[1] by Otto Dix. The print reminded me of Italian comic artist Liberatore‘s Frankensteinesque [2] vision RanXerox [3], [4], [5], one of the most neglected comic book series of the 21st century.

Lucy, l’espoir (2007) illustrated by Liberatore and written by Patrick Norbert.

To my surprise — I know that Liberatore has not made an album since 1996, not counting Femmes[6] which has no story — I stumbled on Lucy, l’espoir a 2007 graphic novel illustrated by Liberatore, many times called the Michelangelo of comic art, but probably more kin to Goltzius (compare the depiction of exaggerated muscle mass in[7], [8] and [9])

On the cover[10] of Lucy, l’espoir’ (En: Lucy, the hope) is an ape mother holding a baby and looking skywards to the moon on a clear night. On a second plate[11], one ape fights another and they both seem to fall off a cliff. The ape on the cover is Lucy, an Australopithecus afarensis specimen discovered 1974, at one time considered the missing link.

What the Butler Saw in Düsseldorf

The butler visited Diana und Actaeon – Der verbotene Blick auf die Nacktheit with a fellow butler and a maid.

He was thrilled to see Étant donnés[1] by Marcel Duchamp. And he did not realize it also looked like this[2]. He saw the famous metal doll sculpture[3] by Hans Bellmer and Bad Boy by Eric Fischl. He saw the most beautiful penis in post-war photography, yes he meant the Robert Mapplethorpe one[4].

He saw and liked photographs[5] of the Linley Sambourne collection, paintings by French figuratist Jean Rustin [6], paintings by Michael Kirkham [7], his first viewing of the fauvist Erich Heckel [8], Phryne [9] by French academic cult painter Jean-Léon Gérôme, waxworks by Belgian sculptor Berlinde De Bruyckere [10], and paintings by Roland Delcol [11].

The butler was also very much taken by Johannes Hüppi [12]; his first viewing of his fave John Currin [13]; his first real Félix Vallotton; and a Lisa Yuskavage [14]. But not that one.

Butler wants you to know that the works he pointed to are for reference only and may not correspond to the works at the exhibition. He also wants you to know that some of the links may be NSFW.

Guy Bourdin @80

Charles Jourdan ad, 1976

French fashion and advertising photographer Guy Bourdin (1928 – 1991) would have celebrated his 80th birthday today had he not died of cancer 17 years ago.

I’m not sure when I first consciously came in to contact with his oeuvre, but I am pretty sure it was in the terra cognita that the internet has become by way of this page[1] from the site of music and culture connoisseur Phinn.

Today, a wide selection of his videos is available on YouTube[2]; a large number of his films can be found on Flickr and on the internet at large[3].

However, and although I cannot confirm this, I feel that I had seen the imagery of Bourdin in the pre-internet world, in a Dutch-language magazine called Avenue, which my parents bought during the seventies. It was The Netherlands’ and Flander’s first glossy, and ran from 1965 until 2002. Contributors have included Paul Huf, Eddy Posthuma de Boer, Ed van der Elsken and Inez van Lamsweerde. I distinctly seem to remember the Charles Jourdan shoe photo-ads Bourdin produced during that era. Not coincidentally, Avenue reminds me of that other glossy, Nova magazine, which I covered a couple of weeks ago[4].

To me, Bourdin can only be compared to his contemporary Helmut Newton (although admittedly I’ve also tentavily compared Ralph Gibson [5] to Bourdin) because in the words of Charlotte Cotton and Shelly Verthime he “emphasised fetishism, power relationships, and the potential for sexual violence, as well as the artificiality of the image, its gloss rather than its reality.”[6]

I’ve reported on Bourdin many times, and I am glad that I saw his retrospective at the Jeu de Paume in Paris and was given as a present Luc Sante‘s first monograph on his work: Exhibit A: Guy Bourdin

You can find Bourdin’s work all over the net.

Can anyone ID the photograper of this cover image?

For something different here[7] is a photo of a cover from Avenue.

Thomas Cook @200

Thomas Cook @200*

Thomas Cook’s guide books contributed to the concept of the armchair traveler.

Many people still prefer the real thing.

So did our protagonist.

She asks:

“Where are you going?”

He answers:

“To the Great Exhibition in London. I took your copy of The Stones of Venice , I hope that’s alright?”

“I booked a ticket with Cook“

She shouts:

“Don’t leave me now!” – “Where are you going?”

He answers:

“To the Exposition Universelle in Paris. I took your copy of Walt Whitman‘s I Sing the Body Electric, I hope that’s alright?”

*Thomas Cook was a British travel agent, born exactly 200 years ago today. He commodified the Grand Tour and invented tourism as we know it today. He gave you a A Room with a View in Tuscany. His guide books contributed to the concept of the armchair traveler.

Saint Anthony at the movies

Perhaps the ultimate and most underrated dream vision (underrated because it is not recognized as a dream vision) in the history of Western literature is the The Temptation of St. Anthony, here [1] painted by Domenico Morelli as Le Tentazioni di Sant’Antonio, also the title of an Italian film of 1911 which depicts Flaubert’s version.

[1] painted by Domenico Morelli as Le Tentazioni di Sant’Antonio,

Saint Anthony has not been popular among writers nor filmmakers but has been very influential to painters, the dream visions lend themselves perfectly to exploring taboo subject matter.

[2]

Only two notable filmmakers had a go at the story, Georges Méliès in 1898 and the aforementioned Italian version of 1911.

Then there is the curious case of The Private Affairs of Bel Ami[3]. For the realisation of this film Loew-Lewin Productions announced a “Temptation of St. Anthony” contest. David Loew and Albert Lewin had persuaded twelve modern artists to paint Anthony’s vision. Each artist was commissioned for $500. Max Ernst was the $3,000 prizewinner.

The work was to be shown in a close-up at a key moment in the film.

[4]

Although Max Ernst‘s rendition (here[5] in a better scan) was the winning work, Salvador Dalí‘s contribution[6] (featuring a parade of spider-legged elephants tormenting the saint) went on the become better-known.

Introducing Undead Film Critic

Introducing Undead Film Critic.

What is Country Doc?

From its first post[1] to its latest[2], exploitation film posters, big breasts and low culture mouthwatering visuals galore. Similar blogs include Hugo Strikes Back, PCL Linkdump, Groovy Age of Horror and Bxzzines.

[Youtube=http://www.youtube.com/watch?v=WjhTM5zxlsM]

“C’est Beau la Bourgeoisie”

And while we’re at it, Georgy sent us this guiltiest of pleasure: Discobitch‘s “C’est Beau la Bourgeoisie” [3]. C’est pour la petty bourgeoisie.

The song is in the vein of “Perfect” by Princess Superstar and “Yeah Yeah” by Bodyrox (who started the “rockist” use of synths in dance tracks).

Gratuitous nudity #12

Dutch translation cover

French original cover

Yesterday, I went to Tuf Tuf, a not-so-reputed second hand book store on the South of Antwerp, my neighbourhood. It’s a real drag to hunt for books there: not enough space, books not arranged alphabetially, battered copies. But sometimes gems are to be found, I picked up a copy of Midnight Movies there once. Aside from this, they specialize in erotica. I spotted two Georges Pichard books yesterday priced at €86 each. I don’t think I’ve mentioned the canonical Pichard here before, his work is super-relevant today, as the good people at Kink.com have brought his ultra-pornographic vision to life.

Back to the subject at hand, me at Tuf Tuf yesterday. I bought Moderne Liefde, an anthology of short stories which previously appeared in Playboy Magazine (with a story by Borges, whose only hint at eroticism I’ve yet seen has been in his story Ulrica), Striptease en Erotiek[1] (a Dutch language translation of Strip-tease et érotisme[2]), De Leidraad (Le Lien) by Vanessa Duriès, and Erotiek by Francesco Alberoni.

Above, I’ve shown you the covers (above the translation I bought, below its original) of Strip-tease et érotisme, the actual object of this post.

Histoire et philosophie du strip-tease : Essai sur l’ érotisme au music-hall, as its full title reads, was written by François des Aulnoyes, to my knowledge one of the very few books he’s written. The book deals with striptease, what makes it interesting is that it was published in 1957, strictly speaking a couple of years before the sexual revolution. The text is hogwash and very briefly invokes Lucien Lévy-Bruhl, Émile Durkheim, Vilfredo Pareto and Freud, these are the only sources mentioned. Its historic overview also mentions Janine Jan and Anne Bruneau as 19th century predecessors to French striptease.

What makes the book interesting are the photographs by Roland Carré, see the cover shot of Huguette Delorme above. Like I said, the pre-sexual revolution mode, with all reference for example to pubic hair airbrushed away (this was the pre-Photoshop-age).

Following models are featured: Melody Bubbles, Clara Saint-Honoré, Sheiba Scott (very sexy), Vera Bell, Japanese model Yoko Tani, Flora Balmoral, Ketty Rogers, Luce Aubertin, Rita Renoir, Tony Teaser, Lola Stromboli, Sidonie Patin, Dodo d’Hambourg, Dora Bell, Magda (of the Concert Mayol), Kitty Tam-Tam, and Rita Cadillac.

Who was Roland Carré? The only person I know who can answer that question is Au carrefour étrange.

Introducing David Pelham

Via today’s post by John Coulthart comes the artwork of presumedly British graphic designer David Pelham. Most Ballardians, says Ballardian and John Coulthart prefer the 1974 Penguin paperbacks covers by Pelham. Here is a Flickr gallery[1] of Pelham’s work.

Pelham also designed the cover of the British edition of 1001 Books You Must Read Before You Die, which has been replaced by the less interesting one shown below.

1001 Books You Must Read Before You Die (2006) – Peter Dr Boxall [Amazon.com] [FR] [DE] [UK]

Introducing Keith Schofield

Last month, I discovered “Toe Jam,”[1] a song by David Byrne, Dizzee Rascal and Norman Cook, a dance tune with soca and Balkan influences. Its video, directed by Keith Schofield is a humorous take on 1970s porn, using censor bars as devices to produce images and sounds.

[Youtube=http://www.youtube.com/watch?v=-_wR22jTyyY]

“Toe Jam”

Three days ago, Schofield released a promotional clip for Diesel, Diesel SFW XXX[2], yet another send-up of film censorship, this time using models to enact “sexual acts,” superimposed by animation bits that hide the action and seemlingly give it an innocent appearance. SFW is an acronym denoting “safe for work,” i.e not NSFW.

[Youtube=http://www.youtube.com/watch?v=vna0HojUUqA&]

“Diesel SFW XXX”

Another use of the censor rectangles

Perversion for Profit (1965)

[Youtube=http://www.youtube.com/watch?v=95O5P4DTOEE]

Jahsonic

Aantekeningen uit Dodenstad.