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ARTBREAK: WOLFGANG TILMANS: AR

(language experiences orgasm upon touching itself) : Roland Barthes(language experiences orgasm upon touching itself) : Roland Barthes

“Language is a skin: I rub my language against the other. It is as if I had words instead of fingers, or fingers at the tip of my words. My language trembles with desire.

SPRING 15 SWEEPSTAKES: SAY HELLO TO ANIKA AT FRESH MODELS

Now if this girl ends up being fit-perfect, crowds will part.Now if this girl ends up being fit-perfect, crowds will part.

Current Viewing: SHAKE : Understanding Urban Cultures Through Movement: Gilles Cabau

The videos exhibit an assumed global sign language: expression of one's understanding of the life around them through movement.The videos exhibit an assumed global sign language: expression of one's understanding of the life around them through movement.

“To perform as a dancer and express myself, I need to think about what is hurting and shocking me (the MKO in Mali). When we shot the film, I was thinking about the life I had chosen that others did not support. I was trying hard to make them understand and accept my choices. I had that kind of rage.”

Papi, a pioneer of Afro Hip Hop in Mali and dancer in the Gilles Cabau's 'Shake" film.

TI's inboxes just pinged with this press release regarding Gilles Cabau's 'Shake' YouTube series , the first film of which is set in Mali's vibrant capital of Bamako.

TI Is Mad For Phenomenon (Tokyo)

The brand's Fall line deftly splices a kind of sports/prep aesthetic with a post-modern sense of  bricolage of materials.The brand's Fall line deftly splices a kind of sports/prep aesthetic with a post-modern sense of bricolage of materials.

A leading light of the Japanese Hip-Hop scene, Takeshi Osumi has led the Tokyo cult brand Phenomenon right to the edge of wide scale commercial impact

TI IS MAD FOR: THE BLACKEST EVER BLACK LABEL

"At this point in my life I want to be provoked, I want to be romanced.""At this point in my life I want to be provoked, I want to be romanced."

EAGERLY ANTICIPATING: STADIUMAGAZINE[C]WORD86.COMAL.W© : NORTHERN QUARTER

STADIUMAGAZINE[C]WORD86.COMAL.W©STADIUMAGAZINE[C]WORD86.COMAL.W©

It's a vital skill to construct images that are clear and clean and sell…with no ambiguity. But it equally important to create images that provoke and inspire and require a decoding. The whole world, in a post-modern way of life is that way. Ask Stadium magazine.

Future Forward: Anthony Symonds: pattern piece 1- Bolshevik drag

forward thinking young designers will excuse themselves from the cyclical frenzy of Fashion Weeks and exhibit in gallaries.forward thinking young designers will excuse themselves from the cyclical frenzy of Fashion Weeks and exhibit in gallaries.

"Well when I went to Central Saint Martins in 1990 I had already worked for Hamnett, Galliano, PX etc. and had been hanging out on the scene since I was 14 so I felt quite jaded by everything even before I began. I saw the art school ethos as irrelevant to the outside world. All the students could do these amazing illustrations – like John (Galliano) – but didn't know what a bust dart was. Ironically, it was me that went on to do an MA in fine art and show with a gallery… so I'll shut up now!"

Anthony Symonds to Dazed and Confused

Come Back Sebastian Cardin... All Is Forgiven

Detachment. She had it down ! Sebastian at Mugler.Detachment. She had it down ! Sebastian at Mugler.

In the late 80's/Early 90's Sebastian Cardin captivated Paris with a long lithe body, a boy beauty and a sang froid so chilly it impressed even...the French. Lagerfeld liked it. As did the New Turks, Mugler and Gaultier who used Sebastian's boy/girl fusion to maximum effect. That apparent indifference, that supreme lack of desperation...it served her well on the pages of Elle when that Early 90's Elle with it punchy, color-driven layouts, put the fear of God in the Grand Lady glossies.

In Memory Of The Great Harun Farocki :1944-2014

A face-to-face between an image already made and a figurative project devoted to observing it.A face-to-face between an image already made and a figurative project devoted to observing it.

From an early stage, Farocki placed confrontation at the centre of his approach, not the confrontation between a small, single body and the great movement of collective history,

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