Photographer Frank Stöckel has always imagined the landscape of his North German home between Kiel and Lübeck as something corporeal, alive, seemingly breathing. He has never lost his intense connection to this place. Even while he earned his keep in Hamburg with editorial work and practical projects, he dedicated himself increasingly to his freelance work on nature and its magic.
In his undoubtedly most haunting photo series, he tells a story of the rare white breed of red deer. An encounter with this wondrous creature, which was brought by Hungarian noblemen to western European courts in the eighteenth century as a small, luck-inducing gift, supposedly transported any viewer to a mythical and magical world. White, the color of purity and innocence, of immaculateness and the holy, seemed to link the peaceful animals to the mythical unicorn that frolicked in the company of virgins in medieval images of the Garden of Paradise.
Stöckel’s images from the Eekholt nature reserve bring to life something of this imaginary, holy world– and that in the middle of Germany. And that’s not all: Stöckel’s works are also specifically photographic. These are neither miniatures from the medieval age of the Minnesang, nor Romantic aquarelles – no, they are photographs, which intensifies their magic by underscoring their authenticity.
Stöckel’s works brilliantly master the tightrope walk between secrecy and kitsch in their strict, minimalist graphic style, erasing any trace of sweetness and affording the white creatures their immediacy. He trusts in the effect of his motif – just as noblemen did long before the invention of photography as they kept the unique animals on their palace grounds. Both Stöckel and the erstwhile nobles rely on similar aesthetic constructions, and the latter surely employed the beasts to impress aristocratic society. Our fascination with the creatures today remains unbroken, and yet Frank Stöckel lends the subject his own formal twist.
Some prints of this series remain available at Lumas.
posted : Friday, December 6th, 2013
tags : deer reindeer photography germany german_photographer fine_art contemporary winter holiday frank_stockel lumas lumas_com prints art season winter_equinox equinox ghosts white_deer rare_species animals frank_stoeckel
Phillip K. Smith III, an American artist based in Indio, California, has recently completed a stunning light installation in the middle of the California High Desert, near the small town of Joshua Tree. Titled ”Lucid Stead,” the work is actually an artistic intervention on a 70-year-old abandoned homesteader shack that plays with the concepts of light and shadow, reflection, projection and change. During the day, the structure reflects its surroundings through mirrors placed in both the shack’s openings and some of the boards on the walls. This acts to create an optical illusion of transparency, while at the same time transforming the desert into a material in its own right. As the sun sets, light gradually begins to emanate from the shack, with the door and windows transforming into solid-colour blocks that change from one colour to the next at an almost imperceptible pace. Interior white lighting seeps through the cracks on the walls, revealing the internal bracings and the shack’s supports. The installation plays beautifully with the concepts of receiving and transmitting: what during the day is a passive reflective object, at night becomes a dynamic illuminating presence that projects itself outwards in bold, bright colours.
'I like my pictures best when there is a sense of tension, an unfinished narrative,ambiguity… In these times aesthetic taste is dismissed as irrelevant. Well, I am perverse. For that very reason I´m more drawn to it than ever.'
posted : Saturday, November 9th, 2013
tags : deborah_turbeville quote in_memoriam memorial fashion photography photographer fashion_photography artist obituary vogue 1980s 80s
When Cowboy Junkies first recorded Lou Reed’s Sweet Jane on a single ambisonic microphone in Toronto’s Church of the Holy Trinity, it was a revelation.
This rock radio classic, a hit for Mott The Hoople, and immortalized on Reed’s “Rock N Roll Animal” LP with a soaring guitar into by Steve Wagner & Dick Hunter, was instantly transfigured by Cowboy Junkies into an introspective and devastating elegy, revealing Reed’s abandoned verses and bridge, and truer to the spirit of the Velvet Underground than any version of this song that Reed or the Velvets ever released.
-From The Kent Stage
posted : Wednesday, October 30th, 2013
tags : lou_reed velvet_underground margo_timmins live video music rock punk andy_warhol sweet_jane michael_timmins liverpool concert cowboy_junkies guitar_solo cover ambisonic trinity_sessions
I Never Stopped Loving You by artist Tracey Emin is a pink neon text for the façade of of the exhibition space at Droit House, commissioned by the Turner Contemporary.
The pink neon sculpture remained in situ until the opening of the new gallery.
Born in Margate, Emin still has a strong connection to the town. She commented:
"It’s a declaration of love for Margate from me, but also what I want in the summer – why go to Brighton for a dirty weekend – come to Margate. I want people to come off the train, I want them to walk along the seafront, I want them to hold hands and to have a snog and say ‘I never stopped loving you’."
Who taught you to write in blood on my back? Who taught you to use your hands as branding irons? You have scored your name into my shoulders, referenced me with your mark. The pads of your fingers have become printing blocks, you tap a message on to my skin, tap meaning into my body. Your morse code interferes with my heart beat. I had a steady heart before I met you, I relied upon it, it had seen active service and grown strong. Now you alter its pace with your own rhythm, you play upon me, drumming me taut.
from Written On The Body
posted : Tuesday, October 15th, 2013
tags : literature wrting writer jeanette_winterson british english_literature quote written_on_the_body love pain contemporary_authors