Film Fun Magazine - May 1919.
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GUP (Guide to Unique Photography) # 33
Nuit De Noel, Malick Sidibe, 1963
Malian photographer Malick Sidibé’s life followed the trajectory of his nation. He started out herding his family’s goats, then trained in jewelry making, painting and photography. As French colonial rule ended in 1960, he captured the subtle and profound changes reshaping his nation. Nicknamed the Eye of Bamako, Sidibé took thousands of photos that became a real-time chronicle of the euphoric zeitgeist gripping the capital, a document of a fleeting moment. “Everyone had to have the latest Paris style,” he observed of young people wearing flashy clothes, straddling Vespas and nuzzling in public as they embraced a world without shackles. On Christmas Eve in 1963, Sidibé happened on a young couple at a club, lost in each other’s eyes. What Sidibé called his “talent to observe” allowed him to capture their quiet intimacy, heads brushing as they grace an empty dance floor. “We were entering a new era, and people wanted to dance,” Sidibé said. “Music freed us. Suddenly, young men could get close to young women, hold them in their hands. Before, it was not allowed. And everyone wanted to be photographed dancing up close.”
Actress Linda Marsh smokes a joint from actor Edward Bell’s foot in a scene of the 1970 movie “STOP”.
The movie Stop” has never been released but has had screenings at museums and film societies.
EVGENY CHES’ CELLOGRAFFITIS IN THE FOREST
Most street artists use urban spaces as their canvas, but Moscow-based graffiti artist Evgeny Ches takes to the forest to create his art. Inspired by the work of French artists Kanos and Astro, Ches uses a technique called CelloGraff, where he stretches cellophane around two trees, and spray paints his murals onto the transparent film. Ches’s spray-paintings depict life-like wild animals—including a dinosaur, a polar bear, a monkey, and even a giant squirrel—that almost look as though they’re really living among the forest trees.
By using cellophane, the artist is able to position their art in any location, as long as there are two columns between which they can stretch their plastic wrap canvases. By creating graffiti in the forest, Ches reverses preconceptions of street art only existing in an urban environment and hopes that by using cellophane, his temporary installations will encourage other artists to avoid “spoiling any walls.”
Last Dollar Road, San Juan Forest, Colorado
Not the safest place to pose…
Wounded centaur, by Italian painter Filippino Lippi (1485 ca.), now in the collections of Christ Church Picture Gallery, Oxford, England
Filipino Lippi (Prato, Tuscany April 1457 – Florence, April 1504), a close friend and collaborator of Botticelli, belonged to a generation of Florentine painters who established a new way of painting.
The subject matter of this painting (in egg tempera and oil on wood) seems to derive from the Roman writer Ovid (Fasti, Book V) in which he tells the story of the centaur Chiron, who fatally wounded himself while inspecting the arrows of Hercules tainted by the poison of the Hydra.
This painting offers a variant of that story in that the centaur is presumably examining the quiver of Cupid, seen reclining beneath the rocks behind, and Lippi may have intended to depict an allegory on the dangers of playing with love. The evidence of this is the attitude of the centaur who, far from be annoyed by the wound, observes with curiosity the arrows in the quiver decorated with gold and with a string ending in fluttering tassels creating sinuous curves, in the most typical style of the artist.
The classical subject matter and anatomically correct torso of the centaur are consistent with the Renaissance ideals of late fifteenth-century Florence. Another important feature is the landscape in which the scene is set. The geological formation of the cave and the reflections in the water reveal the growing interest of the artists of the time in nature.
The work entered the art collection of Christ Church College in 1834 with the Fox-Strangways donation.
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