These are the pictures I've come to expect from LaChapelle, the kind he often publishes in Christopher Street and the Native. There are some like them in his show Good News for Modern Man.
There are also surprises. If most of his men are rigid, statuesque, eminently physical, his female nudes are each an instant in a flowing vision. South Runs through April 25th, Die Mode hat er hinter sich gelassen, aber nicht die Welt des Glitzers und Glamours. Es ist das Pink von Barbie und von knappen Tanktops.
Die vergangenen Tage hat er in einem Rausch aus Life Ball, Partys und Pressekonferenzen verbracht, und noch immer ist er ziemlich aufgekratzt. His work is magnetic; you can not help be attracted to its glitter and vibrancy. Standing in-front of what first seems to be a selection of oil refineries, magically glowing against a vast open space or infinite sky, you are riveted. The architecture manifests like beautiful shrines - modern temples of consumerist worship. The seduction is overwhelmingly compelling, like a child standing for the first time at the gates of Disneyland- blissfully unaware of the financial systems such a place comprises.
Er glaubt, dass die Welt am Abgrund steht, speziell seine Heimat Amerika. Dann sah ich auf meinem Computer diese Oma mit der Spraydose und wie stolz sie auf ihre Aktion war.
Wir lachten. Ich verstehe nicht, was an diesem Plakat so provozierend ist. The artist has found inspiration in the act of recycling, creating small models of oil refineries using all kinds of discarded packaging and rubbish — egg cartons, drink cans, soup tins, drinking straws, cut-up cardboard — photographed in the studio or before real life backdrops, such as a skyline in California.
The results are relatively convincing, and it takes a moment before one begins to notice the artificiality. From their towering chimneys shoot flames that explode like fireworks in the evening sky.
She is reclining, eyes shut, on a chaise longue wearing a sculptural gold metallic minidress. Bizarre, surreal, sensual: yes. Gritty reportage: no. I was struck by its power. It's a postcoital scene: Mars, god of war, is sleeping on all his spoils, while Venus, goddess of love, is looking unsatisfied. Things haven't changed much, I thought. Greed and war versus love and beauty. I decided to take elements from the painting and transform them. Satyrs became child soldiers; I made Venus's dress ripped, alluding to rape, and there's a mine visible through a hole in the backdrop.
I was thinking a lot about the gold mines in Africa, the deplorable conditions for workers and damage the mines do to the environment. They are so huge you can see them from space. I wanted Venus to represent Africa, a continent that has been, and continues to be, raped — because that's where all the resources lie.
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Botticelli used Simonetta Vespucci, an aristocrat famous for her beauty, as his model. He has worked with innumerable pop and film stars, and his powerful, provocative, humorous, glamorous, but also surreal and usually extremely colourful works have had a lasting influence on the world of photography and the aesthetics of the visual realm. Through his exploration of subjects like spirituality and religion, personality cult and physicalness, and by questioning social norms of gender and sexuality, David LaChapelle has managed to influence public awareness.
In an exclusive interview, LaChapelle talks to Out to address the controversy, and ask for more acceptance of transgender subjects in art.
Out: What exactly is happening in Austria? David LaChapelle: The images that I shot of Carmen Carrera are in public, posted on the streets, on bus stops, train stations, and billboards around Vienna ahead of the Life Ball. Beloved photographer David LaChapelle has released his poster designs for the annual Life Ball, and they feature one of our favorite models and transgender icons: Carmen Carrera.
My message is: beauty has no gender. At the end of the day beauty is beauty. The poster, displayed in Vienna, has two images of busty transgender model Carmen Carrera naked in a garden with alternately female and male genitalia.
But LaChapelle told us most Austrians have been supportive. If you look closer, these luminous beacons of industry are actually made out of beer cans, plastic straws and egg cartoons. Known for putting the shimmer and kaboom into commercial photography, the American artist has turned his attention to glitzing up the dirty business of energy.
There's a penis upsetting huge swathes of Austrians right now, it's that one up there, and it belongs to transgender reality TV personality Carmen Carrera. Basically, some Austrian conservatives aren't too pleased with Carmen's dick because Carmen's dick sits beneath Carmen's tits — a combo which has never sat well with conservatives. The Freedom Party of Austria FPO , a right-wing political group, are protesting his picture, calling it pornographic, and some protesters have spray painted over the image of transgendered model Carmen Carrera, who is depicted in one shot with male genitalia and in another version tucked.
I wanted to do a beautiful image. Multi-talented American photographer David LaChapelle excels in many mediums. He is a noted fashion and fine art photographer, music video director, film director and artist but is best known as a photographer having snapped celebrities from Jeff Koons and Hilary Clinton to Madonna and produced cover shots of Italian and French Vogue, Vanity Fair and Rolling Stone.
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Characteristically deceptive this series of photographs seemingly depict oil refineries as temples of energy production shot in glorious technicolour. Characteristically deceptive, the series of eight photographs seemingly depict oil refineries as temples of energy production shot in glorious technicolour. On closer inspection we realise that these are far from real, rather we notice oddly recognisable objects — mobile phones, cans, egg cartons, drinking straws — a plethora of repurposed by-products of our disposable age — making up gigantic complexly handcrafted scenes.
They lure and repel in equal measure and question the assumptions we make about our petroleum-dependent culture, the recycling of energy and the consequences of recycling it irresponsibly.
David LaChapelle nouse interpelle en les utilisant pour creer des images de raffineries. Autre pan de son questionnement, les stations-services trouant la nature comme des apparitions. Known for extravagantly staged, hyper-real images of celebrities from the worlds of film and fashion, David LaChapelle is a crossover editorial portraitist whose work could be compared to the spooky and colorful environments of Sandy Skoglund as well as to the photographic confections of French artist duo Pierre et Gilles.
For this exhibition, LaChapelle surprised viewers by presenting extremely large chromogenic prints that are devoid of people but still possess the artist's familiar sense of flash. Models of factories and gas stations were crafted from disposable items such as drinking straws, hair curlers, glittered boxes, and energy-drink cans, and were lit from within. The resulting images were as elaborately and handsomely jerry-rigged as the structures are. At the same time they appear to be on the brink of falling apart, like set pieces from a deceptive stage play.
A selection of entries by photographers from all over the Northeast will be on view at the Images photography exhibit at the Fairfield Museum and History Center, opening Sunday. The exhibit will kick off with a preview party on Saturday from 7 to 11 p. The grand prize winner will be awarded a day exhibition at the Southport Galleries, Pequot Ave. David LaChapelle's hyper-real and slyly subversive portraits have made him the world's hippest photographer. Now rave reviews for his dance doc Rize have made him Hollywood's hottest director.
Here, the 'Fellini of Photography' talks to Alix Sharkey about prostitution, hanging out with Warhol and being inspired by Pammy. David LaChapelle will sometimes burst into song, loudly, for no apparent reason. We're standing in his office when he starts belting out Madonna's 'Rain'. I mean belting it out, with hand gestures and vibrato, like he's auditioning for Broadway.
For lack of a response, I tell him it's my favourite Madge video. He doesn't look like a dancer. He's muscular, hairy, 6ft 2 in, with tattoos. He's wearing a baggy white T-shirt, shorts, white socks and sheepskin slippers. His colour-saturated works are usually chock full of celebrities, cultural delirium and religiosity, writes Eva-Luise Schwarz exclusively for FOUR's latest International edition. LaChapelle was born in Connecticut in The message is decisive and bold yet it conveys the soft reveries of friendships lost through untimely deaths and once beautiful landscapes that have been debased by America's lust for power and industry.