Last night @ Guu. Happy Birthday Gracie! X
Sunday, March 18, 2012
Saturday, March 17, 2012
Friday, March 16, 2012
Thursday, March 15, 2012
Wednesday, March 14, 2012
GOOD: We stuff our credit card bills deeper into the drawer. We lose our jobs and call it “going freelance.” We lie to our parents and tell them we still have health insurance. We see protesters mingle with people who have been without a home or a job for a long time—a really long time—and we wonder if they’re on the same spectrum. We don’t ask that question out loud.
We respect that everyone has a side hustle. A side hustle to the side hustle. Survival, we come to realize, is its own form of activism. We buy less crap. We make dinner at home. We hold out hope that our projects will become paychecks. We share.
We rely on each other. We get through it together.
The provocative paintings of the French-Polish artist Balthus are the starting point for Japanese photographer Hisaji Hara’s visually arresting photographs currently on display at the Michael Hoppen Gallery. Like in Balthus’ work, the photographs are deeply voyeuristic, sexually suggestive, and fetishistic. As their titles indicate, the photographs are a study of’ well-known Balthus paintings that Hara generously appropriated from. Here, particularly in the context of Japanese photography, Hara appears to walk on well-trodden territory. In his acclaimed series Self-portrait as Art History, Yasumasa Morimura similarly appropriated iconic images from Western culture in his photographic montages. Rather than trying to match the original image as closely as possible however, Hara used Balthus’ work as a template, or a source, to produce photographs that are visually complex and culturally loaded in their own right. (via)
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