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Which clippings match 'Glamour Shot' keyword pg.1 of 1
15 JUNE 2013

Pulp International: retro popular culture and graphic novel illustration

"Yes, fifteen years ago it was. We were kids who didn't know squat about print publishing and now we're older and we don't know squat about web publishing. But we hope Pulp International manages to entertain. It's a bit different from our old Pulp, but it's similar in many ways too. We'll be looking for pulp everywhere – certainly in the usual places, like books and magazines, but also in music and art. For that matter, we'll also be looking for pulp events – that is, real–world crimes with a touch of deceit or corruption. And lastly, we'll be posting images from blaxploitation, sexploitation, noir, horror, sci–fi and psychedelia films, because these too seem like pulp. At least to us. So there you go. Nothing is permanent, and this site won't be either, but as long as it's fun, and you enjoy it, we'll be here."

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TAGS

1950s1960s1970s1996advertising imagesadvertising posters • blaxploitation • book cover designcheesecakeconsumer culturedesign ephemeradetective storyfilm noirglamour shotgraphic novelmagazine artmagazine illustrationmaterial culturenewspaper adNSFW • Pierre-Laurent Brenot • pin-uppop-culture • popular illustration • poster art • psychedelia • psychedelic imagerypulp fiction • Pulp International (magazine) • retrosci-fisex sellssexploitationsexual innuendotitillationvintage advertisingvisual depictionvisual ephemera

CONTRIBUTOR

Simon Perkins
11 JULY 2012

Maurizio Anzeri: embroidered patterns on found vintage photographs

"Maurizio Anzeri makes his portraits by sewing directly into found vintage photographs. His embroidered patterns garnish the figures like elaborate costumes, but also suggest a psychological aura, as if revealing the person's thoughts or feelings. The antique appearance of the photographs is often at odds with the sharp lines and silky shimmer of the threads. The combined media gives the effect of a dimension where history and future converge. The image used in Round Midnight is an early 20th century 'glamour shot' that at the time would have been considered titillating for both the girl's nudity and ethnicity. Anzeri's delicately stitched veil recasts the figure with an uncomfortable modesty, overlaying a past generation's cross–cultural anxieties with an allusion to our own.

'I've been collecting old photographs for a long time. A few years ago I was doing ink drawings with them and out of curiosity I stitched into one. I work a lot with threads and hand stitching, and the link to photography was a natural progression. I put tracing paper over the photo and draw on the face until it develops. Sometimes the image comes straight away, suggested by a detail on a dress or in the background, but with the majority of them I spend a lot of time drawing. Once the drawing is done, I pierce the photo with a set of needle–like tools I invented and take the paper away; the holes are obsessively paced at the same distance to convey an idea of geometry. When I begin the stitching something else happens, drawing will never do what thread will–the light changes, and at some points you can lose the face, and at others you can still see under it.'

'There's a dynamic in what happens between the photograph, the embroidery on top, and you standing in front looking at it. I try never to completely cover a face, you can always still see the face underneath. There are no rules other than I always leave one or both eyes open. Nothing is bigger in my head than a face, it's the best landscape we can look at. It's all to do with the centre, the body. Like a costume or other identity, my work reveals something that is behind the face that suddenly becomes in front. It's like a mask–not a mask you put on, but something that grows out of you. It's what the photo is telling you and what you want to read in the photos. I get my ideas from many different sources: it could be theatre, or someone dressed up on the tube, a tribe in Papua New Guinea, or Versace. It's never one specific thing.'

'Photographs from the 40s and 50s have a totally different quality from photos we're used to today. We don't recognise them as photographs now, they really look like watercolours or drawings. The images I use are anonymous, I find them everywhere; I'm really into flea markets and car boot sales, when you enter you have no idea what you're going to encounter. In everything I see there is something I am interested in, but I try to look at them as plain canvas. Art history is very important to me, it's all been done before but it's never been done by you: if you don't look into the past there is no chance to go into the future. The surrealist movement is important to my work, but I don't become obsessed by it, it's not dictating rules. I understand history in a formal respect, and think of past artists like travelling companions–making work is like going for a walk with them. At the end of the day it's about humanity.'"

(Saatchi Gallery)

Fig.1 Maurizio Anzeri, "Rita", 2011, Embroidery on photograph, 23.5 x 17.5 cm.

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TAGS

antique • antique appearance • art history • car boot sales • costumecraft nostalgia • cross-cultural anxieties • design craftdesign revisionism • elaborate costumes • embroidered patternsembroidery • embroidery on photograph • facefigures • flea markets • foundfound imagesgeometryglamour shot • hand stitching • inner thoughts • making art with recycled materialsmask • Maurizio Anzeri • modesty • needle • nostalgia • old photographs • overlaying • photographportrait • psychological aura • Saatchi Gallerysewing • sharp lines • silky shimmer • stitchedstitching • surrealist movement • textile arts • threads • travelling companions • veiledvintage

CONTRIBUTOR

Simon Perkins
22 JUNE 2012

Late Soviet era girl next door photo book 'Sverstnitsa' (Peer Girls)

"Сейчас, спустя 22–25 лет, рубрика смотрится уже по–другому – как слепок эпохи, и можно даже проследить общее движение нравов от консервативного идеала "русской красавицы" кондово–советского периода журнала – к раскованности и менее стандартным типажам в купальниках. Хотя, надо отметить, что редактора очень осторожно и редко отклонялись от европейского типажа в пользу азиатского, но и такое немного было."

[A series of girl next door 'pin–up images' demonstrating the liberalisation of sexual attitudes in late Soviet era.]

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1980s19891990bachelorettecheesecake • cultural liberalisation • cultural norms • English Russia (blog) • eroticismgender performance culture • girl next door • glamour magazineglamour shotliberal attitude • liberalisation • liberalisation of sexual attitudes • liberalismmens magazine • Peer Girls (magazine) • photo book • picture bookpin-uprepresentation of womenRussian culturesexual agencysexualisationSoviet eraSoviet popular culture • stone-washed jeans • Sverstnitsa (magazine) • teenage girlsUSSR • vintage glamor shot • young women

CONTRIBUTOR

Simon Perkins
09 MARCH 2009

Women or androids?

"Oh, Playboy, why do you want your 'readers' to lust after androids? That's the only explanation we can think of for the proportions of your lovely ladybots. We culled the stats for every centerfold from December 1953 (Marilyn Monroe) to January 2009 (Dasha Astafieva), then calculated each woman's body–mass index.

A clear trend emerged: While real American women have steadily eaten their way up the BMI slope – just like American men – Playmates have gone from a sylphlike 19.4 to an anime–ideal 17.6."

(Katharine Gammon, 19.02.09)

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19641986androidbeauty • belle curves • BMI • bodybody image • body-mass index • centerfold • cheesecakeclassical beautycultural norms • Dasha Astafieva • fashionfemale formfemininitygendergender politics • glamour model • glamour photography • glamour shotideal female bodyideal form • infoporn • ladybot • Laurie Carr • Marilyn Monroephysical archetypepin-upPlayboy (magazine) • playmate • pornographyproportions • Rosemarie Hillcrest • Wired (magazine)

CONTRIBUTOR

Simon Perkins
06 JULY 2008

Dove Evolution: exploiting female anxiety about beauty and self esteem

Dove co–option through the use of female anxiety about beauty and self esteem.

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CONTRIBUTOR

Lynne Ciochetto
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