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.