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Which clippings match 'Veiled' keyword pg.1 of 1
04 FEBRUARY 2016

Retailer uses drones to playfully respond to social media censorship

"clothing retail store BUYMA recently produced a creative commercial that strictly wants you to buy their clothes. Since Japanese TV programs are legally obligated to cover sensitive body parts, BUYMA uses drones to fully censor two professional belly [sic] dancers while they dance their routine naked."

[This Buyma ad which was created for television clearly plays with concepts around censorship - both in the context of Japanese broadcast media and perhaps more importantly in the context of social media where it will likely have most traction. In doing so the ad playfully references contemporary restrictions in place on sites such as Facebook.]

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2015ballet • Buyma (retailer) • censorshipcheekyclassical balletclothing retailercomedy of mannerscultural conventionsdancedroneetiquette • flying drone • high-technology • hoverJapan • Japanese online retailer • morality • naked ballet dancing • naughty • nude man • nude women • nudity • obscenity • obscuring nudity • online retailer • playful provocation • playfulnesspolite societyquadcoptersexual taboo • social media censorship • social shopping service • tabootv adtv advertveiledviral advisual gag

CONTRIBUTOR

Simon Perkins
23 SEPTEMBER 2013

The Broad: contemporary art museum by Diller Scofidio + Renfro

"The Broad is a new contemporary art museum built by philanthropists Eli and Edythe Broad on Grand Avenue in downtown Los Angeles. The museum, which is designed by Diller Scofidio + Renfro, will open to the public in late 2014. The museum will be home to the nearly 2,000 works of art in The Broad Art Foundation and the Broads' personal collections, which are among the most prominent holdings of postwar and contemporary art worldwide. With its innovative 'vault–and–veil' concept, the 120,000–square–foot, $140–million building will feature two floors of gallery space to showcase The Broad's comprehensive collections and will be the headquarters of The Broad Art Foundation's worldwide lending library."

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2014architectural spacearchitectureart museumbox • Charles Renfro • collectionscontemporary artcontemporary art museumdesign proposalsDiller Scofidio + Renfro • display design • display of apparatus • display of process • Edythe Broad • Eli and Edythe Broad • Eli Broad • fine art collectionsgallery spaces • Grand Avenue LA • holdings • lending library • lightLiz DillerLos Angelesmuseumpersonal collectionsporous spacesproject pitchpurpose-builtRic Scofidiosculptural formshowcase • storage facility • The Broad (museum) • The Broad Art Foundation • transparency • vault • veiled • Walt Disney Concert Ha

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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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
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