Ahh, performance art. Insufferable, self-important, inscrutable, and ultimately a self-perpetuating stereotype (there will always be youth). Surely we creatives have been down this road. My dark secret: I deliberately cried in front of my MFA class. Just because. Just because it was genuine at the time. And as foolish as I feel about it now, I miss that. I miss the innocence and ignorance of it.
One can operate from a position of fear, or a position of fearlessness. Neither is better, but, damn, if I don't miss fearlessness. (more…)
...that deserve to be worn again. One would think that it would be interesting if these were available in adult sizes as well, but, as Jammerz can tell you much more efficiently than I can, kids should be kids and adult should be adults. Nonetheless, these clothes should be on contemporary kids. The models, while close to my heart, shall remain anonymous.
First up: knitwear that is loose in just the right places. Hit the jump for more...
I'm contemplating getting a pretty great little coat for sale at MAC in Hayes Valley. It's a miniature (18") collectible made to commemorate Maison Martin Margiela's 20th anniversary. Not cheap, especially for something that nobody would ever be able to wear, but tempting...Reminds me of a really nice piece by Charles Ledray which recently sold for $61,000.
Somehow the previous post led me back to a figure that I had encountered in the recent past: Jerzy Grotowski. He's someone that I should definitely pursue a bit further, but modern theater is a kettle of fish that I'm not ready to dive into. Nonetheless, there is a certain odd baroque asceticism (try to make sense of that) to his work and the work in the previous post (Klaus Nomi) that I find compelling.
A quote from the NYTimes obituary of Grotowski that seems particularly apt:
Summarizing Mr. Grotowski's approach to acting, Mr. Gregory said, ''He saw the entire actor as an emotional, physical and vocal instrument.''