#luc sante

[lascitasdelashoras]

Luc Sante, Collage

[less-ismore]

Among the intuitive stretches required of the flâneur is a lively belief in ghosts that does not particularly assume a belief in the supernatural. The past is always present, if sometimes in the way of those movie spirits who can be seen in the room but not in the mirror, or vice versa. All the tyrants and landowners and monopolists in vain set their shoulders to bulldoze the past out of existence, but it stubbornly remains, sometimes in the most indefinable and evanescent way and sometimes as a bad conscience. Luc Sante, The Other Paris, 2015.

[juliesandothings]

Four from Luc Sante - No Smoking, Assouline, 2004

Top: Monica Vitti, in Modesty Blaise - Joseph Losey, 1966

Second from Top: Carole Lombard, 1930′s

Second from Bottom: Jane Birkin, Paris, 1975

Bottom: Sharon Stone, in Basic Instinct - Paul Verhoeven, 1992

https://www.abebooks.com/book-search/title/no-smoking/author/sante/publisher/assouline/

[theblackestofsuns]

The Factory Of Facts (1998)

Luc Sante / Lucy Sante

Pantheon Books

[freemoneyfree]

Highlights from the monthly Art Book Club at Milwaukee Public Library- Central. (next one is 2/26!)

Images 1-2: Aperture 229 Winter 2017 (feat. Rrose is a Rrose is a Rrose revisited)/ Aperture 241 Winter 2020

Image 3: from The Spirited Earth: Dance, Myth, and Ritual from South Asia to the South Pacific by Victoria Ginn

Images 4-6: from Nan Goldin / I'll be Your Mirror

[maggiethecatchatterley]

[alovelywaytospendanevening]

Lit Hub: The Question of Homoeroticism in Whitman’s Poetry

Walt Whitman’s best poems demonstrate an almost unimaginable prescience; he and Dickinson, among 19th-century American poets, possess a nearly chilling self-consciousness, an acute self-analysis. Edward Carpenter, the British anarchist, writer, and champion of the Arts and Crafts movement whose life and romance were the model for E. M. Forster’s novel Maurice, wrote this elegant description of a visit with Whitman in 1877; the emphases are Carpenter’s own: “If I had thought before (and I do not know that I had) that Whitman was eccentric, unbalanced, violent, my first interview certainly produced quite a contrary effect. No one could be more considerate, I may almost say courteous; no one could have more simplicity of manner and freedom from egotistic wrigglings; and I never met any one who gave me more the impression of knowing what he was doing more than he did.” That there were words for homosexual behavior in Whitman’s day there can be no doubt. Social structures for enabling same-sex congress seem to have been a feature of life in the modern city at least since the later 18th century, when the “Molly houses” in London offered a zone of permission for transvestism. Herman Melville, in Redburn, carefully evokes the nattily dressed fellows who hang out in front of a downtown restaurant where opera singers perform; he means us to understand what these stylish outfits convey. Historian and theorist Luc Sante describes a 19th-century pamphlet that takes as its project the publication of the locations of various quite particular spots of diverse sexual practice in New York City—so that those informed of, say, the address of a bordello featuring willing boys can take special care to avoid this hazard. Trenchant evidence comes from Rufus Griswold’s review of the 1855 edition of Leaves of Grass: “We have found it impossible to convey any, even the most faint idea of style and contents, and of our disgust and detestation of them, without employing language that cannot be pleasing to ears polite; but it does seem that someone should, under circumstances like these, undertake a most disagreeable, yet stern duty. The records of crime show that many monsters have gone on in impunity, because the exposure of their vileness was attended with too great indelicacy. Peccatum illud horrible, inter Christianos non nominandum.” Which is all a way of saying that Whitman inscribes his sexuality on the frontier of modernity; he is writing into being—particularly in the “Calamus” poems of 1860, with their frank male-to-male loving, their assumption of equality on the part of the lovers—a new situation. He does not know how to proceed—he has no path —but he does it anyway. My guess is that he couldn’t have written “Calamus,” or the boldly homoerotic portions of the 1855 Leaves, even ten years later, as the advent of psychology increasingly led to a public perception of the normative, and imagery of the sacred family becomes the object of Victorian romance. As a category of identity—sodomite, invert, debauchee, pervert, Uranian—begins to emerge, so the poems with their claims of a loving, healthy, freely embraced same-sex desire become unwriteable, paradoxically, just as new language of homosexual identity begins to appear. Unwriteable, and, it would seem from Whitman’s later remarks, and some of his revisions, barely defensible. Carpenter and his readers were reaching for signposts of a gay identity when such a thing barely existed, but Whitman is ultimately a queer poet in the deepest sense of the word: he destabilizes, he unsettles, he removes the doors from their jambs. There is an uncanniness in “Song of Myself” and the other great poems of the 1850s that, for all his vaunted certainty, Whitman wishes to underscore. Again and again, he points us toward what, it seems, must remain folded in the buds beneath speech, since it cannot be brought to the surface. (Full article)

[fashionbooksmilano]

Exhibit A Guy Bourdin

Samuel Bourdin- Fernando Delgado

Foreword by Luc Sante, Essay by Michel Guerrrin

Bulfinch,/Little Brown Publ., Boston NY London 2001, 208 pages, 38x29cm, 81 four col. & 19 duotone phot., ISBN 0-812-266 9 X

euro 150,00

email if you want to buy booksinprogressmilano@yahoo.it

Guy Bourdin's surreal and erotic imagery filled pages of international magazines throughout the 1970s. Within the medium of fashion photography, he gave shape to a dark and intriguing vision that exerted lasting influence on the international style scene and altered the contemporary aesthetic. Bourdin rarely allowed his work to appear outside the pages of the magazines, and there has never been a book published devoted to his remarkable legacy. He remained an enigma, shunning publicity and becoming reclusive. After his death the French government seized all his work for non-payment of taxes and it was thought a book would be impossible. However, published under the guidance of Bourdin's son, Samuel Bourdin (who put his affairs in order and enabled publication) and creative director Fernando Delgado, Exhibit A presents for the first time a comprehensive look at the range and depth of Bourdin's photographic work, from the mid-1950s until his death in 1991. The images herein represent the highlights of his career - including his work for Vogue Paris and his revolutionary advertising campaign for Charles Jourdan shoes. Bourdin is featured and canonized in every history of commercial photography for a style described by one historian as the 'look of an era, glamorous, hard-edged with implied narratives and strong, erotic undercurrents'. Vogue became a playground for him, the magazine's double-page spread allowing him to indulge his fantasies. He constructed narratives and small scenarios; inventive, shocking and erotic they only served to nurture his own macabre and dangerous persona. A biographical essay by Michel Guerrin, photography critic for Le Monde, will provide a long-overdue look at Bourdin's career. Writer Luc Sante (author of American Photography 1890-1965 and New York Noir) contributes a foreword. Exhibit A: Guy Bourdin is a landmark volume; these compelling images are as provocative today as they were over two decades ago, and they have left an indisputable mark upon contemporary photography and the visual arts.

19/10/24

[filmaticbby]

Aries: Tarantino, F. F. Coppola, Andrea Arnold, Eric Rohmer, Edgar Wright, Ruben Östlund, Josh Safdie, David Lean, Andrei Tarkovsky, Michael Haneke, Martin McDonagh

Taurus: Wes Anderson, Orson Welles, Sofia Coppola, Lars von Trier, Terry Zwigoff, George Lucas, Robert Zemeckis, John Waters, Frank Capra

Gemini: Fassbinder, Hideaki Anno, Makhmalbaf, Agnès Varda, Alex Garland, Clint Eastwood, Yorgos Lanthimos, Aaron Sorkin, Ken Loach, Alexander Sokurov, Giuseppe Tornatore

Cancer: Abbas Kiarostami, Wong Kar-wai, P. T. Anderson, Mike White, Ari Aster, Ingmar Bergman, Krzysztof Kieślowski, Paul Verhoeven, Robert Eggers, Béla Tarr, Mel Brooks, Ken Russell, Sidney Lumet, Kinji Fukasaku

Leo: Alfred Hitchcock, Greta Gerwig, Alain Robbe-grillet, Kubrick, Wes Craven, Taika Waititi, Luca Guadagnino, Christopher Nolan, Polanski, Sam Mendes, Richard Linklater, Nicolas Roeg, James Cameron, Pablo Larraín, M. Night Shyamalan, Iñárritu, Gus Van Sant, Peter Weir, Wim Wenders, Maurice Pialat

Virgo: Tom Ford, Joe Wright, Paul Feig, Dario Argento, David Fincher, Brian De Palma, Baz Luhrmann, Tim Burton, Friedkin, Takashe Miike, Noah Baumbach, Werner Herzog, Elia Kazan, E. Coen

Libra: Julie Dash, Almodóvar, Jacques Tati, Ang Lee, Michelangelo Antonioni, Ti West, Walerian Borowczyk, Nicolas Winding Refn, Satoshi Kon, Kenneth Lonergan, Michael Powell, Jacques Tati, Steve McQueen, Denis Villeneuve

Scorpio: Mike Nichols, Barry Jenkins, Charlie Kaufman, Céline Sciamma, Tsai Ming-liang, Jean Rollin, Scorsese, Louis Malle, Luchino Visconti, François Ozon, Julia Ducournau

Sagittarius: Sion Sono, Cassavetes, Raj Kapoor, Steven Spielberg, Eliza Hittman, Terrence Malick, Ozu, Alfonso Cuarón, Gregg Araki, Larry Charles, Judd Apatow, Kathryn Bigelow, Lenny Abrahamson, J. Coen, Jean Luc Godard, Diane Kurys, Ridley Scott, Lynne Ramsay, Woody Allen, Fritz Lang

Capricorn: Larry Clark, David Lynch, Harmony Korine, Damien Chazelle, David Lowery, Mary Harron, Sergio Leone, Todd Haynes, Pedro Costa, Gaspar, Noe, Fellini, Joseph Losey, Miyazaki, John Carpenter, Steven Soderbergh, Michael Curtiz, John Singleton, Vertov

Aquarius: Jim Jarmusch, John Hughes, Darren Aronofsky, Jodorowski, Michael Mann, Derek Cianfrance, Alex Payne, Truffau, Eisenstein, Tone Hooper

Pisces: Pasolini, Sean Baker, Paul Schrader, Bernardo Bertolucci, Benny Safdie, Jacques Rivette, Bunuel, Luc Besson, David Cronenberg, Spike Lee, Rob Reiner, Mike Mills, Sebastián Lelio, Jordan Peele, Ron Howard, Robert Altman

[lascitasdelashoras]

Flier for a reading at Columbia University featuring Luc Sante and Jim Jarmusch

[kylo-wrecked]

★ Tag nine people you'd like to get to know better!

favorite color(s): greens and reds and especially black — orange is also lovely

favorite flavor(s): i think lime is just great

favorite genre(s): i like art house crap, body horror, horror, generally, the french new wave, sci-fi (specifically cyberpunk), classic old Hollywood cinema, '80s thrillers (like The Hitcher), dadaism, surrealism, gothic, the glamour of the new romantics, etc.

favorite music: i love everything from the (russian) five to industrial noise! there's this album i love by a french percussionist who plays the Eiffel tower. too hard to narrow it down.

favorite series(s): x-files, mad men, and atlanta

last song: saddlebags - lukid

last series: station eleven

last movie: spiderhead (NOT good oml, netflix pls)

currently reading: luc sante's low life

currently watching: an episode of cabinet of curiosities starring rupert grint apparently

currently working on: befriending the cat we're going to be looking after for the next few weeks

tagged by: @hopegained and @desireandduty <3

tagging: newish people! @ofcatnaps, @affcgato, @riiese, @nightmarefuele, @etoilebleu, @godresembled, @micaela-arg, @corinnebaileyrp, @normallyxstranger but also whoever wants to share.

[pityroad]

I remember Luc Sante writing once that one of the surprises in your work is that there you were, in the same scene with all this, and yet, you could take these pictures.

Goldin: I had to take these pictures. They gave me a reason to be there. I think the whole reason that I write about in The Ballad, about my sister’s death and the need to record everything, was predominant. It wasn’t an act of will or very much about pursuing art. It was out of need. All my work, I think, is out of need.

— Darryl Pinckney in conversation with Nan Goldin for Aperture, December 2022

[zoearthuruni]

Final Images and Statement:

For this assignment, I knew that I wanted to build off my previous work by using architecture at the forefront of the manipulations. My original plan was to look at feelings of isolation through architecture and landscape, however, after some test manipulations I found that the work was not developing how I wanted it to, and I was not feeling excited about what I was making. This caused a change of plans, where I went back to my previous assignment and found that I liked how certain colours and types of buildings have connotations that when presented together, tell a specific story, or generate certain feelings, therefore, finding myself more drawn to warm lighting, and the emotional nostalgic response I got from it.

I have a deep appreciation for old architecture, and I often find myself imagining what life was like at the time of these buildings’ creation. This inspired me to explore the idea of nostalgia through architecture and landscape. Old photographs often have a sepia tone that people can recognise as being vintage, so I decided to create my own versions of vintage photographs by manipulating my images using a warm sepia/brown colour palette, alongside photographs of old houses and churches.

Within these 3 images, I have explored how specific lighting, combined with landscape and architecture, can generate a nostalgic emotional response. I cut out parts of my own photographs and merged them into 3 separate images that work within a set, exhibiting different perspectives and scenery. While manipulating these images, I thought about Jonas Bendiksen’s The Book of Veles, in which he manipulated fake photographs to trick the photographic community by playing into stereotypes of a drug-ridden European city. This was due to multiple cases of fake news and hacking coming out of Russia, causing him to fear that it would not be long until documentary photography could no longer be based in reality, but instead, fantasy from powerful digital tools. This interested me as I realised in some way, this is what I was doing. I was creating imaginary compositions and trying to make them look as though they were from hundreds of years ago.

These manipulations are intended to be seen in a book but if they were to be seen without context, would viewers believe that they were actually REAL vintage photographs? This made me work hard to try and get my photographs to feel as nostalgic and old, through the sepia tones and subject matter, as possible. To help myself achieve this, I researched other photographers who had taken and edited their photos to be sepia-toned or to showcase warm lighting such as Rick Keller, Daniel X. O’Neil, and Peter Fodor.

The ideas presented in Bendiksen’s Book of Veles were instrumental to my overall direction with my idea of nostalgia. My 3 image manipulations use vintage stereotypes and cliches of sepia tones, combined with photographs of old churches and houses, for the purpose of presenting them in a book as if they were real photographs. This reminded me of the important ethics surrounding photography and manipulation as the lines between what’s real and what’s fake slowly start to blur. I believe this project was beneficial to me through how creating my own manipulations taught me to always consider what is real and what is fake.

REFERENCES:

Miller, Jessica. Fake News: how Jonas Bendiksen hoodwinked the photographic community with The Book of Veles. 14 February 2022. https://amateurphotographer.com/book_reviews/fake-news-how-jonas-bendiksen-hoodwinked-the-photographic-community-with-the-book-of-veles/.

Sante, Luc. Colors/Sepia: Picturing Nostalgia. 2004. https://www.cabinetmagazine.org/issues/14/sante.php#:~:text=Viewed%20in%20this%20light%2C%20sepia,had%20become%20objects%20of%20nostalgia.

[pierre-hector]

“One Health” ou la santé des trois règnes

“One Health”, nouveau concept issu de l'OMS depuis les années 2000 qui est mis en exergue pour le moment (1). La santé de la planète est unique, comme un Dieu unique, mais Dieu de l'Univers, un Démiurge (dont j'ai déjà touché mot) cher à Laurent Alexandre, un dieu de la matière issu de la gnose et du néoplatonisme. Je propose dès lors qu'elle soit trinitaire, composée des trois règnes : minéral, végétal et animal pour parfaire l'analogie. Ce délire mondialiste n'est possible qu'en mettant un place une “One Cloud” qui va tracer tout le vivant... et pour ce faire, notre consentement est requis. À bon conformiste : santé !

‣ ANSES, « One Health : une seule santé pour les êtres vivants et les écosystèmes », pub. 23 mars 2023, https://www.anses.fr/fr/content/one-health-une-seule-sante-pour-les-etres-vivants-et-les-ecosystemes (cons. 26 sept. 2023).

—

(1) Ce mardi 24 sept. Arnaud Ruysen recevait Jean-François Collet, chercheur à l’Institut de Duve et professeur à l’UCLouvain et Leïla Belkhir, infectiologue aux Cliniques universitaires Saint-Luc et professeure à l’UCLouvain pour nous informer que “une récente étude dans la revue The Lancet estime qu’à l’horizon 2050, les bactéries résistantes aux antibiotiques pourraient causer la mort de 39 millions de personnes dans le monde” ; et qu'il est donc urgent de mettre cette politique “One Health” en pratique | RTBF, La Première, « Les clés », « Résistance aux antibiotiques : pourquoi est-ce un problème majeur de santé ? », pub. 24 sept. 2024, (via login et mdp) https://auvio.rtbf.be/media/les-cles-les-cles-3249567 (cons. 26 sept. 2024)

—

[indiespacesite]

Issue #148: Lee Quiñones by Luc Sante

BOMB Magazine's Luc Sante shows us how prolific artist Lee Quiñones comes up with some of his famous creations.

[acommonplacepage]

He was also frightened of invertebrates, marine life in general, temperatures below freezing, fat people, people of other races, race-mixing, slums, percussion instruments, caves, cellars, old age, great expanses of time, monumental architecture, non-Euclidean geometry, deserts, oceans, rats, dogs, the New England countryside, New York City, fungi and molds, viscous substances, medical experiments, dreams, brittle textures, gelatinous textures, the color gray, plant life of diverse sorts, memory lapses, old books, heredity, mists, gases, whistling, whispering—the things that did not frighten him would probably make a shorter list. He evidently took pleasure in his fears

The Heroic Nerd by Luc Sante in The New York Review of Books, 2006 October 19