in Vogue Italia
Showing posts with label meisel. Show all posts
Showing posts with label meisel. Show all posts
Wednesday, January 12, 2011
Tuesday, January 4, 2011
Monday, April 5, 2010
Piano songs
Esteban Insinger cumple 1 año con su diario musical; para festejarlo, Freja hace clusters para Steven Meisel en Vogue Italia y la rubia Toni Garn tortura sutilmente a sus pequeñas alumnas en Vogue USA.
Thursday, July 30, 2009
Somos esclavos de los objetos que nos rodean
es el título del editorial de moda de Steven Meisel para Vogue Italia, Marzo 2009.
Las modelos, vestidas en fearless fashion primaveral (tema de tapa du mois), observan a la gente común que está encerrada en las vitrinas como piezas de un hipotético museo antropológico.
En las paredes del museo, los rostros de los encerrados cuelgan en primer plano, sin expresión.
Como dijera Paris Hilton en su magno reality show (que supo ser en la 1era temporada la versión contemporánea de una escuela para señoritas perversamente realista donde un Gregory Bateson con licencia para experimentar con humanos hubiera obtenido la confirmación de la génesis lógica de la esquizofrenia, perdida irremediablemente en la 2da temp): En mi mundo, cuando no estás juzgando a los demás, ellos te están juzgando a vos.
En este museo que pone en abismo la relación con las personas en términos de relaciones-con-objetos, quiénes son esclavos de la apariencia y quiénes los esclavos de la mirada del resto de las personas?
Las modelos, vestidas en fearless fashion primaveral (tema de tapa du mois), observan a la gente común que está encerrada en las vitrinas como piezas de un hipotético museo antropológico.
En las paredes del museo, los rostros de los encerrados cuelgan en primer plano, sin expresión.
Como dijera Paris Hilton en su magno reality show (que supo ser en la 1era temporada la versión contemporánea de una escuela para señoritas perversamente realista donde un Gregory Bateson con licencia para experimentar con humanos hubiera obtenido la confirmación de la génesis lógica de la esquizofrenia, perdida irremediablemente en la 2da temp): En mi mundo, cuando no estás juzgando a los demás, ellos te están juzgando a vos.
En este museo que pone en abismo la relación con las personas en términos de relaciones-con-objetos, quiénes son esclavos de la apariencia y quiénes los esclavos de la mirada del resto de las personas?
Saturday, February 2, 2008
nerd poetry for bloggers
You're aware that some people think you're a nerd. So what?
They're not players. They've never jousted with Windows or gone hand to hand with DOS.
To them C++ is a decent grade, almost a B - not a language. They barely exist. Like soldiers or artists, you don't care about the opinions of civilians.
You're building something intricate and fine. They'll never understand it.
The environment that nutures creative bloggers kills management
and older,manatee types - and vice versa. Programming (eventually, blogging) is the Great Game. It consumes you, body and soul. When you're caught up in it, nothing else matters. When you emerge into daylight, you might well discover that your underwear is older, and judging from the number of pizza boxes lying around, it must be spring already.
But you don't care, because your program runs, and the code -your blog- is fast and clever and tight. You won.
Orson Scott Card "How Software Companies Die" revised + Live on the Web, by Steven Meisel (editorial Vogue Italia);
para mis superamigos bloggers, toujours
They're not players. They've never jousted with Windows or gone hand to hand with DOS.
To them C++ is a decent grade, almost a B - not a language. They barely exist. Like soldiers or artists, you don't care about the opinions of civilians.
You're building something intricate and fine. They'll never understand it.
The environment that nutures creative bloggers kills management
and older,manatee types - and vice versa. Programming (eventually, blogging) is the Great Game. It consumes you, body and soul. When you're caught up in it, nothing else matters. When you emerge into daylight, you might well discover that your underwear is older, and judging from the number of pizza boxes lying around, it must be spring already.
But you don't care, because your program runs, and the code -your blog- is fast and clever and tight. You won.
Orson Scott Card "How Software Companies Die" revised + Live on the Web, by Steven Meisel (editorial Vogue Italia);
para mis superamigos bloggers, toujours
Sunday, December 9, 2007
Primavera Klimt! Meisel y el rococó austríaco
Today we see in it the Byzantine luxuriance of form, the vivid juxtaposition of colors derived from the Austrian rococo
- aspects so markedly different from the clinical abruptness of Egon Schiele.
The coruscating sensuality of Klimt's work might seem in perfect accord with a society which recognized itself in those frivolous apotheoses of happiness and well-being, the operettas of Johann Strauss and Franz Léhar.
For the sumptuous surface of Klimt's work is by no means carefree. Its decorative tracery expresses a constant tension between ecstasy and terror, life and death.
Life's seductions are still more potent in the vicinity of death, and Klimt's works, although they do not explicitly speak of impending doom...
constitute a sort of testament in which the desires and anxieties of an age, its aspiration to happiness and to eternity, receive definitive expression.
For the striking two-dimensionality with which Klimt (+Meisel) surrounds his figures evokes the gold ground of Byzantine art
a time that, in negating space, may be regarded as negating time - and thus creating a figure of eternity.
Steven Meisel for Vogue Italia Diciembre 08 + excerpta de Michael Gibson (Symbolism, Taschen)
mr Meisel vous êtes trés trés badass
- aspects so markedly different from the clinical abruptness of Egon Schiele.
The coruscating sensuality of Klimt's work might seem in perfect accord with a society which recognized itself in those frivolous apotheoses of happiness and well-being, the operettas of Johann Strauss and Franz Léhar.
For the sumptuous surface of Klimt's work is by no means carefree. Its decorative tracery expresses a constant tension between ecstasy and terror, life and death.
Life's seductions are still more potent in the vicinity of death, and Klimt's works, although they do not explicitly speak of impending doom...
constitute a sort of testament in which the desires and anxieties of an age, its aspiration to happiness and to eternity, receive definitive expression.
For the striking two-dimensionality with which Klimt (+Meisel) surrounds his figures evokes the gold ground of Byzantine art
a time that, in negating space, may be regarded as negating time - and thus creating a figure of eternity.
Steven Meisel for Vogue Italia Diciembre 08 + excerpta de Michael Gibson (Symbolism, Taschen)
mr Meisel vous êtes trés trés badass
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