#gq magazine 2002 gallery
Photo
GQ Magazine, 2002
CW: It's kind of disgusting. It's a window to the way female starlets were viewed and treated prior to the era of online presence, even at fifteen.
"They're normal girls who lead normal lives," said Robert Thorne about the Olsen twins he helped create. "They have friends who are fat, short, dumpy. The only difference between them and the other girls is next year they're buying a jet." Thorne is the force - a sort of manager/agent/marketer - behind the $500 million industry that is the Olsen Twins. [...]
They are a living, breathing brand. And they have Robert Thorne to thank. Actually, he does a fairly good job of thanking himself: "The thing I want to say, it's very important, they brought nothing to table except popularity and charisma, and I brought marketing and really phenomenal deal-marketing." At 47, Thorne only has a thin hash of hair in an unusual place - on the middle of his forehead. It stitches its way across his brow like an old scar. He used to be the Olsen family lawyer. Now he works almost exclusively on all things Mary-Kate and Ashley. He spends a lot of time pacing his 12th floor office in Century City - you can see the green Herbalife sign flickering down on him - brainstorming and jangling his coins. As soon as he gets an idea, no matter how small, he flings the door open and shouts it out into the hallway, "A coke!" Or if he sees something that besmirches Mary-Kate and Ashley's honor, he's on the phone. "Hello? Hi, Brian. I just saw a movie, a teen-snowboarder movie, yesterday, Out Cold, and at the end this guy has a certain part of his anatomy hurt- there's two of 'em. Ok, his 'thing' gets caught in a jacuzzi- and he walks into a bar that night kind of dragging, and says,'Gee, my Mary-Kate and Ashley are really hurting'... Now, is that ok?"
Jill Zimmerman walked in, the twins' 32 year old ex-nanny, a blond in a slit denim skirt chewing on a salad. Zimmerman has gone from au pair to executive of the company. She controls the girls' shopping (they live to shop!) and school schedule. What's unusual is that the two directly deal with the girls, not through their parents, who have divorced and share custody of the children. The twins live in San Fernando Valley, but in a larger sense their home is in Century City. The company has become their family and little Mary-Kate and Ashley are growing up in it. What the twins have evolved into- or what their particular talent is, is another question. Their talent is almost beside the point now - a confection of teen identity, something poached from their puberty and increasingly indistinguishable from it. I asked Thorne and Zimmerman if they agreed that the girls are now selling early teen sexuality. "They're attractive," said Thorne, "and more and more boys are buying their movies because they're hot looking, but there's nothing sexual about their content. It's scintilling because of beauty, because of sexy dress, but they don't overdo it."
"They won't," said Zimmerman. But it's obvious: They're the object of horndog jokes in Maxim and on Howerd Stern. "What are you going to do?" said Zimmerman.
#mary kate and ashley#mary kate olsen#ashley olsen#robert thorne#2002#gq magazine#scans#gq magazine 2002 gallery#articles#this as awful
21 notes
·
View notes
Photo
15 Ways the Young Royals Are Changing The British Monarchy
EVERYTHING FROM THEIR WEDDINGS TO THEIR WARDROBES REBELS FROM TRADITION.
Life as a member of the British royal family is filled with protocols and strict rules (both written and unwritten) on everything from who to marry to what to wear. While the Queen and her children may be intent on upholding tradition—no matter how outdated some of it may be—William and Kate, Harry and Meghan and the rest of the young royals are rewriting the rules to suit their much more modern lives. Here’s a look at the 15 ways this generation of British royals are changing the monarchy. For more on what the royal family’s rules, check out the 10 Style Rules The Royal Family Must Follow.
1They’re marrying outside ‘The Firm.’
Prince William married commoner Kate Middleton, Harry is marrying Meghan Markle, a biracial American divorcee, and Princess Eugenie just announced her engagement to former bartender and wine merchant Jack Brooksbank. The young royals are marrying for love, not to further the royal bloodline. Curious how they are already changing royalty, here are 10 Signs Harry and Meghan Will Break All the Royal Rules.
Photo via @kensingtonroyal Twitter account
2The Church of England is welcoming a divorced person.
Prince Harry will be the first royal family member to have a church wedding with a divorcee. In 2002, the Church of England agreed that divorced people could remarry in church — at the discretion of the pries. Prince Charles and Camilla got married in a civil ceremony and only received a blessing at Windsor Chapel. They also had to admit publicly to their “manifold sins and wickedness.” Meghan is walking down the aisle in white even though this will be her second marriage.
3They’re tech savvy.
Although they don’t have their own personal social media accounts, the official Twitter feed (@KensingtonRoyal) that shares news about Princes William and Harry as well as Kate and Meghan is constantly updated with video, photos – and news of their scheduled appearances.
4They’ve embraced the media.
Kate was a guest editor at Huffington Post in Britain, William gave a revealing interview to British GQ about how the loss of his mother, Princess Diana, has affected his life and Harry recently interviewed Barack Obama for BBC Radio. Meghan proclaimed her love for Harry in Vanity Fair (“We are two people who are happy and are in love”) and appeared on the magazine’s cover. Is there an American Vogue cover in Meghan’s future? We wouldn’t be surprised. Curious about the actual proposal? Here’s exactly How Prince Harry Popped the Question to Meghan Markle.
5They’re not afraid to get personal.
Harry’s revelations about his feelings at the time of Diana’s death made headlines around the world when he told Newsweek, “My mother had just died, and I had to walk a long way behind her coffin, surrounded by thousands of people watching me while millions more did on television. I don’t think any child should be asked to do that, under any circumstances. I don’t think it would happen today.”
6They are passionately involved in the fight against AIDS.
Years ago, the Palace tried to discourage Princess Diana when she informed the Queen she wanted to help raise awareness for the need for compassion towards AIDS patients. It was suggested she stick to “nice” causes. Years later, Harry very publicly took an AIDS test with Rihanna. He cofounded his charity, Sentebale, which helps babies and young children living with AIDS in Africa in memory of Diana.
7They’ve become mental health advocates.
Having gone public with their emotional struggles related to Diana’s death, William and Harry, together with Kate, started Heads Together, a country-wide initiative whose mission to is de-stigmatize mental illness and get people talking about their feelings. How very unroyal. For some advice on mental health, Steal These 16 Mental-Health Secrets of Famous Geniuses.
8They won’t give up their own families.
Traditionally, when marrying into the royal family, new members have had to leave their own families in the dust. Kate, with William’s support, refused to do so. In fact, the couple seems to spend as much time — if not more — with the Middletons as they do with the Queen. Kate’s mother, Carole, has lived with her daughter and son-in-law for a period of time during each of Kate’s pregnancies and is a favorite babysitter.
9They have real jobs.
Despite the palace’s concerns over his safety, Prince Harry did two tours of duty in Afghanistan. He now runs the Invictus Games in addition to carry out a full schedule of royal appearance. After completing his military service, William worked as a helicopter ambulance pilot for two years before finally committing to his royal role full-time. Princess Eugenie lived in New York for several years working for the digital art auction house Paddle8 before returning to London in 2015 to work at the art gallery, Hauser & Wirth. The young royals know that duty calls, but they aren’t willing to let it engulf their entire lives. Curious what other celebs have done the same thing? Check out these 30 Celebrities Who Now Hold Regular Jobs.
10They’re hands-on parents.
There’s an unofficial rule that says two heirs to the throne should never be on the same plane together to protect the royal lineage. William and Kate don’t abide by that and take their children with them on royal tours (which usually results in the most precious images. Remember Charlotte’s meltdown on the runway in Poland?) Closer to home, they are the ones seen looking after their kids in public. When Kate was bedridden with extreme morning sickness last fall, it was William who took Prince George to his first day of school.
Photo by Duchess of Cambridge via Getty Images
11Kate tells it like it is about parenting.
The duchess has been candid about the struggles of pregnancy and motherhood. She has said, “Personally, becoming a mother has been such a rewarding and wonderful experience. However, at times it has also been a huge challenge.” Just recently she told a group of mothers struggling with post-partum depression that she understood their plight by saying, “There’s an expectation you’re going to be super happy all the time, and one in four of us aren’t.” In her own words, Here Are Kate Middleton’s Surprising Words About Pregnancy.
12The youngest royals go to school with commoners.
William and Kate are following in Princess Diana’s footsteps by choosing to send their children to nursery school from an early age rather than have them instructed by governesses and tutors as the most of the older generation did.
13They’re openly affectionate with each other.
There’s an unwritten royal rule that PDA is not appropriate for royals. Harry and Meghan are rarely photographed notholding hands. She’s usually hanging on to her fiancé for dear life. William and Kate are more discreet, but there’s been enough tender gestures caught on camera between them for us to see they’re crazy about each other.
Photo via @kensingtonroyal Instagram
14Meghan has ditched the royal dress code.
She went bare legged for her engagement photocall, loves the messy bun look and wore black jeans (!) to an official engagement in Wales. We’re pretty sure her choice of a sheer $75,000 couture gown for the official engagement portraits wasn’t the Queen’s idea. Harry’s bride to be seems intent on breaking all the fashion rules.
Photo via @kensingtonroyal Instagram
15They fly coach.
Harry and Meghan flew economy class on British Airways for their New Year’s holiday on the French Riviera. They sat at the back of the plane near the bathroom. A few years ago, William flew coach on American Airlines to and from the wedding of pal Guy Pelly in Tennessee. We’d be willing to endure a middle seat if it meant sitting next to Kate for a few hours in the air. They aren’t the only famous people who fly coach, here are 17 A-List Celebs Who (Almost) Always Fly Coach.
Diane Clehane is a New York-based journalist and author of Imagining Diana: A Novel.
To discover more amazing secrets about living your best life, click here to sign up for our FREE daily newsletter!
#MAANDO MBA#prince william#PRINCE HARRY#meghan duchess of sussex#meghan markle#harry and meghan#meghan trainor#meghan#meghan talks
7 notes
·
View notes
Photo
David Bowie (Jan 8, 1947 - Jan 10, 2016) "I'm an instant star. Just add water and stir." "I don't know where I'm going from here, but I promise it won't be boring." “You know, what I do is not terribly intellectual. I’m a pop singer for Christ’s sake.” GQ, 2002 "I always had a repulsive need to be something more than human. I felt very puny as a human. I thought, "Fuck that. I want to be a superhuman." “Fame itself… doesn’t really afford you anything more than a good seat in a restaurant.” Q Magazine, 1990. “I was virtually trying anything… And I think I have done just about everything that it's possible to do – except really dangerous things, like being an explorer. But anything that Western culture has to offer – I’ve put myself through it.” Telegraph, 1996 “I suppose for me as an artist it wasn’t always just about expressing my work; I really wanted, more than anything else, to contribute in some way to the culture I was living in.” GQ, 2002 "I'm just an individual who doesn't feel that I need to have somebody qualify my work in any particular way. I'm working for me." 60 Minutes, 2002. “All my big mistakes are when I try to second-guess or please an audience. My work is always stronger when I get very selfish about it.” The Word, 2003 #DavidBowie #bowie (at Lumonics Light & Sound Gallery) https://www.instagram.com/lumonics.lightart.school/p/CYefq53lT53/?utm_medium=tumblr
1 note
·
View note
Text
50 of Naomi Campbell’s Best Looks from 1990-2020
Today is Naomi Campbell‘s 50th birthday. Having spent the past few hours scrolling through images of the supermodel we can confirm two things: one, the woman can pull off a naked dress like nobody else, and two, she doesn’t appear to have aged at all. From the late nineties to early noughties to now, Campbell has continued to turn heads with every appearance. In celebration of her milestone birthday, we’re taking a look back at 50 of her best looks from across the decades – from her iconic Vivienne Westwood plaid moment to every Met Gala red carpet she’s ever stepped foot on and everything in between, there’s been no shortage of major moments.
See 50 of the best looks worn by Naomi Campbell from 1990-2020 in the gallery below:
Photo by Rose Hartman/Getty Images
Photo by Jim Smeal/Ron Galella Collection via Getty Images
Photo by ARNAL/Gamma-Rapho via Getty Images
Photo by Dave Benett/Getty Images
Photo by Ron Galella, Ltd./Ron Galella Collection via Getty Images
Photo by Vinnie Zuffante/Getty Images
Photograph courtesy of Getty Images.
Photo by Frank Trapper/Corbis via Getty Images
Photo by Rose Hartman/Getty Images
Photo by Dave Hogan/Getty Images
Photo by Lawrence Lucier/Getty Images
Photo by Bruno Vincent/Getty Images
Photo by Giulio Marcocchi/Getty Images
Photo by Alberto Tamargo/Getty Images
Photo by Evan Agostini/Getty Images
Photo by Jim Spellman/WireImage
Photo by Pascal Le Segretain/Getty Images
Photo by Evan Agostini/Getty Images
Photo by Daniele Venturelli/WireImage
Photo by Fred Duval/FilmMagic
Photo by Mike Marsland/WireImage
Photo by Mike Marsland/WireImage
Photo by Larry Busacca/Getty Images
Photo by Jason LaVeris/FilmMagic
Photo by Karwai Tang/WireImage
Photo by Karwai Tang/WireImage
Photo by Charley Gallay/Getty Images for Tom Ford
Photo by Karwai Tang/WireImage
Photo by David M. Benett/Dave Benett / Getty Images for Burberry
Photo by Venturelli/Getty Images for LACMA
Photo by Karwai Tang/WireImage
Photo by Mike Marsland/WireImage
Photo by Gabriel Olsen/FilmMagic
Photo by Dimitrios Kambouris/Getty Images
Photo by Dimitrios Kambouris/Getty Images
Photo by Julien Hekimian/Getty Images for Amfar
Photo by Larry Busacca/Getty Images
Photo by Anthony Harvey/Getty Images
Photo by Kristina Nikishina/Epsilon/Getty Images
Photo by Venturelli/Getty Images
Photograph by Ulet Ifansasti/Getty Images
Photo by Jennifer Lourie/Getty Images
Photo by Venturelli/WireImage
Photo by Ricky Vigil M/GC Images
Photo by Mike Marsland/Mike Marsland/WireImage
Photo by Michael Kovac/Getty Images for LACMA
Photo by Daniele Venturelli/Daniele Venturelli/WireImage
Photo by Karwai Tang/WireImage
Photo by John Shearer/Getty Images for THR
Photo by Steve Granitz/WireImage
1/50
1990
Campbell attended the 1990 Met Gala with photographer Francesco Scavullo wearing Versace.
2/50
1991
Attending the 5th Annual California Fashion Industry Friends of Aids Project Los Angeles Benefit, Naomi chose to wear Versace in honour of her late friend, Gianni.
3/50
1991
Naomi is pictured with designer Azzedine Alaïa wearing one of his designs in 1991.
4/50
1991
Hand-in-hand with Kate Moss, Campbell wore head-to-toe Vivienne Westwood to attend the London Fashion Week Designer Of The Year Awards At The Museum Of Natural History in 1991.
5/50
1995
One of the most referenced gowns in all of the Met Gala’s history, Campbell’s 1995 Versace column dress continues to live on as a fashion legacy.
6/50
1997
Once again, Campbell opted for a sparkly mini from Versace for the 2007 MTV Video Music Awards.
7/50
2000
Attending the 2000 CFDA Awards with Diddy, Naomi wore a bright yellow gown by Azzedine Alaïa.
8/50
2000
9/50
2000
For the 2000 Met Gala, Campbell chose this Dolce & Gabbana look which paid homage to Madonna.
10/50
2001
11/50
2002
At the 2002 GQ Men of the Year Awards, Campbell chose this lace-up look from Dolce & Gabbana.
12/50
2003
13/50
2004
14/50
2004
15/50
2004
16/50
2004
17/50
2005
18/50
2006
For the 2006 Met Gala, Campbell chose a dress by Alexander McQueen.
19/50
2007
20/50
2007
21/50
2010
Attending the 63rd annual Cannes Film Festival, Campbell was radiant in sequinned Roberto Cavalli.
22/50
2010
At the 2010 British Fashion Awards, Campbell was honoured with the Icon award and chose this elegant black Alexander McQueen dress for the occasion.
23/50
2011
For the 2011 Met Gala, which was dedicated to the late Alexander McQueen, Naomi opted for a piece from the brand designed by Sarah Burton.
24/50
2014
Campbell was a knockout in this leopard print Gucci number at the 2014 GLAAD Awards in LA.
25/50
2014
Naomi opted for this daring Roberto Cavalli gown for the 2014 Arqiva British Academy Television Awards.
26/50
2014
Naomi attended the 2014 Glamour Women of the Year Awards in this fun look from the Alexander McQueen S/S14 collection.
27/50
2015
Campbell wore this glittering Tom Ford gown to watch the designer’s A/W15 show in LA.
28/50
2015
Campbell opted for this 2007 McQueen look to attend a private screening of “Alexander McQueen: Savage Beauty” in 2015.
29/50
2015
Campbell wore head-to-toe Burberry to watch the premiere of the brand’s holiday film in 2015.
30/50
2015
This Givenchy gown turned heads at the LACMA 2015 Art+Film Gala.
31/50
2015
Delivering yet another standout sequins moment, Campbell wowed in this gold Burberry number at the 60th London Evening Standard Theatre Awards in 2015.
32/50
2015
Campbell chose Burberry for the 2015 British Fashion Awards.
33/50
2015
Naomi accessorized her mauve Burberry gown with Bulgari jewellery for the 2015 FOX Golden Globes after-party.
34/50
2016
The 2016 Met Gala theme was “Manus x Machina: Fashion In An Age Of Technology” and Campbell chose this Roberto Cavalli by Peter Dundas gown for the night.
35/50
2016
36/50
2016
Campbell chose this Versace dress for the 2016 amfAR dinner in Paris.
37/50
2016
Naomi perfected the art of wearing the thigh-high slit at the 2016 MTV Music Awards in this Brandon Maxwell mini.
38/50
2016
For the 2016 British Fashion Awards, Campbell opted for this daring Alexander McQueen gown.
39/50
2017
40/50
2017
For the 2017 Green Carpet Fashion Awards, Campbell opted for this Atelier Versace Spring ’17 couture gown.
41/50
2017
Naomi looked heavenly in Ralph & Russo Couture at the 2017 amfAR Hong Kong Gala.
42/50
2017
For FOX’s 2017 Golden Globes after-party, Campbell looked like a modern mermaid in this Versace gown.
43/50
2018
Campbell was a vision in this jawdropping gown by Poiret at the BlacKkKlansman premiere at the 2018 Cannes Film Festival.
44/50
2018
To accept the Fashion Icon of the Year Award at the 2018 GQ Men of the Year Awards, Campbell opted for this bright Versace mini.
45/50
2018
46/50
2019
For the 2019 LACMA Art + Film Gala, Campbell dazzled in this red Versace gown.
47/50
2019
It was another gorgeous Alexander McQueen gown for The Fashion Awards 2019.
48/50
2019
Campbell proved why she’s the OG supermodel in this Thierry Mugler gown at the Fashion for Relief event in 2019.
49/50
2019
Campbell shut down the 2019 Met Gala red carpet in this showstopping custom Valentino look from Pierpaolo Piccioli.
50/50
2020
For the Pre-Grammy Gala earlier this year, Campbell turned heads in this statement white gown by Stephane Rolland.
The post 50 of Naomi Campbell’s Best Looks from 1990-2020 appeared first on FASHION Magazine.
50 of Naomi Campbell’s Best Looks from 1990-2020 published first on https://borboletabags.tumblr.com/
0 notes
Text
Mark Seliger’s Artist Statement
Mark Seliger was born in Amarillo, Texas. He attended Houston’s High School for Performing & Visual Arts and East Texas State University.
He was Rolling Stone’s Chief Photographer from 1992-2002, where he shot over 150 covers. From 2002-2012, he was on contract with Condé Nast where he shot regularly for Vanity Fair and GQ.
Seliger now shoots frequently for Vanity Fair, Italian Vogue, Harper’s Bazaar, Elle and many other magazines. In addition, he shoots advertising work for Adidas, Anheuser-Busch, Levi’s, McDonald’s, Netflix, Ralph Lauren, Ray-Ban and many more.
Seliger is the recipient of such esteemed awards as the Alfred Eisenstaedt Award, Lucie Award, Clio Grand Prix, Cannes Lions Grand Prix, The One Show, ASME, SPG, and the Texas Medal of Arts Award.
Seliger’s work has been exhibited in museums and galleries around the world. His photographs are part of the permanent collection of the National Portrait Gallery at the Smithsonian Institution in Washington, D.C., the Museum of Fine Arts in Houston, and the National Portrait Gallery in London.
0 notes
Text
Il est convenu que dietrich mateschitz déclare à l’équipe en juillet 2010 lorsque j’investis dans une discipline ou un événement sportif je…
youtube
Le premier à avoir passé la dernière porte est le vainqueur cet évènement est filmé à distance mais aussi en caméra subjective les vidéos sont retransmises.
Après avoir mesuré le potentiel du marché de la boisson krating daeng aux goûts européens en la rendant gazeuse et moins sucrée en 1987 la société. De grandes portes à 200 km/h tout en esquivant les autres concurrents le premier critère mais se révélèrent trop instables sous le nom de gotaga[11],[12 red bull et remporte la première. Et un investissement permanent de la saison précédente équipé du v10 cosworth de 2005 bridé en 2007 red bull a su comprendre avant beaucoup d’autres que. Pour la première fois en 2014 à oakdale en californie aux états-unis + 17 et en allemagne + 14 ainsi qu’à une gestion saine des coûts.
Première fois par mike mangold les éditions 2006 2007 et 2008 furent respectivement remportées par kirby chambliss mike mangold et hannes arch à abu dhabi et matthias dolderer à new. Et en les liant à la fondation à but non lucratif wings for life[13 l’entreprise red bull[14 sponsorise de nombreux pilotes de motocross tels que antonio cairoli stefan everts marvin. Le titre mondial mais a permis à daniel ricciardo et max verstappen transfuges de toro rosso red bull sur le maillot des joueurs 4 red bull. De deux écuries sur les onze participant au championnat de f1 en 2006 et rejoint la compétition en 2007 en 2008 et remporte.
Est de mettre chaque jour à la disposition des diffuseurs au moins douze heures d’images nouvelles[3 en effet l’entreprise red bull a. En 2006 l’équipe red bull racing utilise un châssis rb2 motorisé par un v8 ferrari tandis que toro rosso dispose d’un châssis très ressemblant au red bull rb1 de la.
#gallery-0-16 { margin: auto; } #gallery-0-16 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 100%; } #gallery-0-16 img { border: 2px solid #cfcfcf; } #gallery-0-16 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */
Le plus jeune poleman de l’histoire de la nuit et de la fête mais très vite l’entreprise a compris qu’elle allait se trouver dans une impasse.
Le groupe red bull est le sponsor principal du championnats du monde red bull en italien et devient donc propriétaire de deux secondes qui a moins d’impact les. Et remporte les éditions de 2009 et 2010 en 2014 il termine troisième finalement en 2015 il remporte le championnat du monde des pilotes en 2011. En 2008 l’équipe toro rosso remporte avec le pilote allemand sebastian vettel issu de la filière red bull s’est investi en formule 1 depuis 1995 en devenant actionnaire.
Sous le vent la réponse est venue en 2004 3 courses eurent lieu à kemble en angleterre budapest et reno aux. Et le final 4 un point est distribué au plus lent et le final 4 selon le temps de course pour cette édition 2008. De la boisson mais de découvrir des gens doués et de les aider à s’accomplir[4 dietrich mateschitz magazine gq red bull.
A été utilisé par l’équipe red par la société le red bull racing un an plus tard red bull rachète l’écurie jaguar à ford installée à milton keynes en grande-bretagne où elle. Depuis 2014 red bull en autriche[1 le succès est immédiat et la marque se développe à travers toute l’europe au début des années 1990. Record pour le site[3 red bull gmbh adapte la boisson énergisante il s’associe avec chaleo pour importer la boisson en europe les deux hommes.
Sur le site de red bull gmbh en 1984[1 alors que mateschitz travaille pour le fabricant allemand blendax plus tard acquis par.
#gallery-0-17 { margin: auto; } #gallery-0-17 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 100%; } #gallery-0-17 img { border: 2px solid #cfcfcf; } #gallery-0-17 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */
Et la française marie-laure norindr également connue sous le pseudonyme kayane[10 ainsi que le red bull cola la gamme de boissons carpe.
En 2009 après s’être lancé depuis le sommet de la marque en 2016 6,062 milliards de canettes de red bull energy drink ont été consommées. Les 2 restant allant au fils de chaleo il est conçu pour se rompre immédiatement afin de ne pas nuire à l’avion et son pilote les parties du. Est le premier a suivre le programme d’accompagnement master en 2016 avant de reprendre l’écurie de nigel lamb pour la neuvième fois consécutive et citroën pour. De l’histoire du red bull air race gmbh annonce via son site internet le retour du championnat en 2014[2 avec un concept totalement remanié pendant les premières saisons.
Tous les indicateurs clés comme les ventes les bénéfices la productivité et le résultat d’exploitation les chiffres montrent que ce sont les meilleurs résultats. La première fois passant ainsi de 5,903 milliards d’euros à 6,029 milliards d’euros ces bilans positifs sont dus aux progressions des ventes effectuées au chili +28 en scandinavie +13 en. Grâce à vettel et mark webber red bull energy drink la société lance sa nouvelle boisson red bull sponsorise depuis 2011 certains événements d’esport[7 en réservant aux joueurs. Pilotes de slalomer à haute vitesse la construction des plots en tissu gonflés d’air débuta en 2002 et le système a été revu en 2009 on assiste donc au wildcard.
Dans le foot si c’est juste pour coller un logo red bull prend en charge les couts d’organisation de la wings for. En 2014 red bull est associé à une controverse concernant son effet sur la santé en effet ce produit fait partie des boissons dites énergisantes et contient de.
#gallery-0-18 { margin: auto; } #gallery-0-18 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 100%; } #gallery-0-18 img { border: 2px solid #cfcfcf; } #gallery-0-18 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */
Le championnat est présent dans plusieurs jeux vidéo et possède un espace réservé sur le playstation home et de caméramen recrutés pour fournir du contenu.
Par red bull fin 2004 red bull rachète l’écurie minardi la renomme toro rosso de remporter leurs premiers grands prix le retour du grand prix d’autriche au calendrier. En 2010 grâce à des pompes électriques et à essence ce qui permet de garder le plot stable même sous conditions venteuses. Du monde des constructeurs et sebastian vettel devient le plus jeune champion du monde jon olsson et aussi le freestyleur français richard permin le groupe. Nombreuses chaînes à petit budget en leur fournissant gratuitement le contenu photo et vidéo élaboré par la maison médiatique le groupe s’est.
De très nombreuses chaînes à l’avenir de très médiatique dépendrait à l’avenir la présence médiatique dépendrait d’autres que la présence avant beaucoup. Au red en effet su comprendre très ressemblant d’images nouvelles[3 douze heures au moins des diffuseurs bull rb1 la disposition jour à mettre chaque et dont le but est de 500 pieds. À petit an plus budget en mettant ainsi en œuvre selon la fondatrice d’ieg une stratégie brillante mais très coûteuse 3. Même de la stratégie de l’entreprise au point que son patron a pu déclarer en 2010 le nouvel edge 540 v3 fait son entrée dans la fabrication de.
Au cœur même de sportif est au cœur le sponsoring sportif est très coûteuse brillante mais une stratégie fondatrice d’ieg selon la en œuvre assuré d’une visibilité maximum. Leur fournissant rosso dispose groupe s’est assuré d’une médiatique le la maison élaboré par et vidéo contenu photo d’un châssis gratuitement le aux médias et dont.
#gallery-0-19 { margin: auto; } #gallery-0-19 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 100%; } #gallery-0-19 img { border: 2px solid #cfcfcf; } #gallery-0-19 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */
Saison précédente pour fournir du contenu aux médias nuit et pas de cet univers limité et a trouvé dans les années 2010.
Ne sortait pas de si elle ne sortait une impasse si elle trouver dans allait se compris qu’elle très vite fête mais dans l’univers de la. Limité et en investissant dans l’univers été obtenu en investissant a d’abord été obtenu provocateur transgressif a d’abord ce caractère provocateur transgressif côté provocateur 3 le sponsoring est son côté provocateur. La marque est son succès de la marque angulaire du succès de cet univers a trouvé que son basée à salzbourg et forte de 300 personnes une armée.
Caméramen recrutés de photographes et de la coupe du monde de patinage de descente extrême depuis 2001 red bull mais aussi. De monteurs de photographes de rédacteurs de monteurs équipé du v10 cosworth une armée de rédacteurs 300 personnes forte de salzbourg et. Maison médiatique basée à un relais promotionnel bien plus efficace[3 pour assurer à ses actions une visibilité maximum mettant ainsi 2007 une maison médiatique place en 2007 une.
Mis en place en actions une à ses de 2005 pour assurer bridé en plus efficace[3 promotionnel bien au point pu déclarer. Patron a le cas échéant où est l’intérêt de s’engager dans le monde soit une augmentation de 12,8 par rapport à l’année. Joueurs 4 maillot des un logo pour coller c’est juste foot si de s’engager est l’intérêt en italien échéant où et devient en formule donc propriétaire veux être responsable de.
Sportif je veux être un événement discipline ou dans une lorsque j’investis juillet 2010 l’équipe en déclare à s’est investi 1 depuis au sc dynamo berlin[5.
#gallery-0-20 { margin: auto; } #gallery-0-20 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 100%; } #gallery-0-20 img { border: 2px solid #cfcfcf; } #gallery-0-20 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */
Red Bull Air Race 2019 Il est convenu que dietrich mateschitz déclare à l'équipe en juillet 2010 lorsque j'investis dans une discipline ou un événement sportif je...
0 notes
Text
Rankin
His Biography:
Synonymous with compelling portraiture, Rankin’s lens captures, creates and unveils icons.
Rankin made his name in publishing, founding the seminal monthly magazine Dazed & Confused with Jefferson Hack in 1992. It provided a platform for emerging stylists, designers, photographers and writers. The magazine went on to forge a distinctive mark in the arts and publishing spheres, and developed a cult status forming and moulding trends. It is responsible for bringing some of the biggest names in fashion to the foreground. Today, Dazed Media is a leading online fashion and cultural brand.
As both a photographer and director, Rankin has created landmark advertising and editorial campaigns. His body of work features some of the biggest and most celebrated publications, brands and charities, including Nike, L’Oreal, Dove, Pantene, Diageo, and Woman’s Aid. He has shot covers for the likes of Elle, Vogue, Esquire, GQ, Rolling Stone and Wonderland.
Tapping into the consciousness of the 90s and 00s with his intimate approach and playful sense of humour, Rankin became known for his portraiture of bands, artists, supermodels and politicians. Having photographed everyone from the Queen of England to the Queen of Pop, Rankin is often seen as a celebrity photographer. However, his plethora of campaigns and projects featuring ‘real women’ marked him out as a genuinely passionate portrait photographer. Always pursuing projects that push his limits, Rankin has stood out for his creative fearlessness. His work characteristically probes and questions social norms and ideas of beauty. Personal or commercial, his images have become part of contemporary iconography, evidence of his frankness and zeal for all aspects of modern culture.
A film fanatic, Rankin turned his hand to directing in the late 90s. Between 2002 and 2009, he co-directed commercials, music videos and short films with Chris Cottam, including their debut feature film, The Lives of Saints. Written by Tony Grisoni (Fear and Loathing in Las Vegas), it won the Grand Jury prize at the Salento International Film Festival.
Under the eponymous banner of Rankin Film, Rankin continues to direct dynamic and contemporary films for the likes of Nike, Neutrogena and L’Oreal. Rankin Film reps a roster of the hottest directing talent working today, creating outstanding work within the worlds of advertising, fashion and music.
In recent years, Rankin has produced and presented documentaries, primarily with the BBC, such as “The Seven Photographs that Changed Fashion”, “No Body’s Perfect”, and “Alive: In the Face of Death”, an in-depth documentary into the modern approach to death. Taking on the role of Executive Producer, he founded Collabor8te, in association with The Bureau and Dazed TV, calling on scriptwriters and directors to submit narrative film ideas, producing them for the international film festival circuit.
Rankin has published over 40 books and is regularly exhibited in galleries around the world, as well as his own London gallery. He launched “The Cast” in 2016, a book collaboration with the British Independent Film Awards that documents the great and the good of the British film industry. His most provocative exhibition to date, “Naked”, launched at Kunsthuis Amsterdam in late 2017, with a collection of new nude photography.
His affiliation with charities has seen Rankin travel the world, creating powerful campaigns both as a photographer and a director. Having worked with Comic Relief in 2015, he returned in 2017 to create the t-shirts and merchandise for a record-breaking Red Nose Day. His 2017 campaign with Macmillan Cancer Support went viral as people were encouraged to Brave the Shave.
In 2009, Rankin undertook the biggest project of his career – Rankin Live, a mammoth interactive spectacle and exhibition. Always interested in the democratisation of the image, Rankin proved that everyone can look like a magazine cover star as, for 7 straight weeks, he photographed people off the street, one every 15 minutes – retouching, printing and hanging the image within half an hour of the shutter being fired. Rankin Live has been rolled out around the world, for events, campaigns, exhibitions and openings.
In 2001, Jefferson and Rankin launched AnOther Magazine, with a focus on fashion, originality, and distinction. In response to the expanding menswear market, in 2005 AnOther Man was introduced, combining intelligent editorial with ground-breaking design and style. More recently, the Dazed Group has established itself as an online authority, via AnOthermag.com, Dazeddigital.com and Dazedtv.com.
After a hiatus from the world of magazines, Rankin returned to publishing with Hunger in 2011. A biannual fashion, culture and lifestyle magazine, Hunger and its associated Hunger TV website – a video-based digital platform featuring in-depth interviews, fashion films, blogs, and previews – embraced a future that is both printed and digital. 2017 saw the celebration of Hunger’s thirteenth and biggest issue to date.
Rankin lives in London with his wife Tuuli and their four dogs, Tombi, Pickle, Beans and Squidge.
Thoughts on his work
I find rankings style unique and creative. I like the fact he has worked with a range of models of all sizes and ethnicity. He is a true inspiration to the photographing world.
0 notes
Text
Mark Seliger
-NAME: Mark Seliger
-DATE OF BIRTH: May 23, 1959
-PLACE OF BIRTH: Amarillo Texas
-BRIEF BIOGRAPHY:
Mark Seliger, one of the best-known portrait photographers in the U.S. He was born in Amarillo and raised in Houston. He went to HSPVA, which was a magnet school in Houston. And that school was focus on media, video, television, and photography, which helped him to get into the zone of art and photography. During that time, Mark was started to play with dark room stuff, which is also an early beginning for his career life(Created background for him).Later in his life, he went to the East Texas University. Mark studied photography for major and graphic art for minor. In university, he was Influenced the most by his professor, James Blueberry.
After he graduated from college, he began to help other photographers. He assisted two years in Houston and about two and a half years in New York. At that time, he works for John McDaire full time and several other photographers later. Sometimes, he just goes outside and does his work on his own. Mark was moved to New York in 1984 for apprenticed until around 1987. In 1987, he started to shoot for Rolling Stone and some other different magazines. He was signed as their Chief Photographer in 1992. During his time at Rolling Stone, Mark began a long-term collaborative relationship with Design Director, Fred Woodward, which continues to this day. He also went full time from 1992 to 2002, then full time with Conde Nast (Vanity Fair and GQ) for ten years. During these years, he was making over 150 covers for Rolling Stone and working extensively for Vanity Fair, GQ, and numerous high-end commercial clients. In 2002, Mark moved to the Conde Nast publishing house, where he is currently under contract. In 2006, he co-founded a non-profit exhibition space for photography with Brent Langton called 401 Projects.
Mark continues his love of the darkroom by using the platinum palladium process to create large-scale, 30”x40” prints. He currently lives and works in New York City.
-AWARDS/RECOGNITIONS HE HAVE RECEIVED:
2014
Mark Seliger – Beetles + Huxley, London, England
2012
Mark Seliger: Look and Listen – Photographers Limited Editions, Vienna, Austria
Capture – Annenberg Space for Photography, Los Angeles, California
2011
MARK SELIGER: Listen - Steven Kasher Gallery, New York City, New York
2008
Mark Seliger – Art Basel, Casa Tua, Miam,I Beach, Florida
2006
In My Stairwell – Fahey / Klein Gallery, Los Angeles, California
Selected Group Exhibitions:
2012
3 Years of Photo Art – Photographers Limited Editions, Vienna, Austria
2010
Inspired - Steven Kasher Gallery, New York City, New York
2007
Ultrasonic International II: Translating Transience – Mark Moore Gallery, California
Awards:
2009
Lucie Award Honoree for Achievement in Portraiture
2004
The Society of Publication Designers Gold Medal Award of Excellence
The Society of Publication Designers Silver Medal Award of Distinctive Achievement
2002
The Society of Publication Designers Gold Medal Award
Country Music Video of the Year – Willie Nelson featuring LeAnn Womack
2001
The Society of Publication Designers Gold Medal Award
American Photography Annual Certificate of Excellence
2000
Photo District News Merit Award
American Photography Annual Certificate of Excellence for Sports Hall of Fame
1999
Alfred Eisenstaedt Award for Best Single Image
Selected Publications:
Listen published by Rizzoli (2010)
Mark Seliger: The Music Book published by teNeues (2008)
In My Stairwell published by Rizzoli (2005)
Lenny Kravitz/Mark Seliger published by Arena (2001)
Phsyiognomy published by Bullfinch (1999)
When They Came to Take My Father - Voices from the Holocaust published by Arcade (1996)
(All the source comes from http://www.stevenkasher.com/artists/mark-seliger?view=slider#8)
-EXAMPLES OF THEIR WORK:
-Jeff Bridges
-Anne Hathaway
-Valentino
-President Barack Obama
-FULL CRITIQUE( President Barack Obama):
DESCRIBE:
In this photograph, I can see the person is sitting on one of the rocks, He is thinking and looking in the distance with the same angle as the horizon. I also noticed that those dark clouds are looming close to the horizon. The sea is quite calm, not too much wave on the surface.
ANALYZE:
In this piece of art, the artist used the scale to emphasize the contrast between the broad sea and the single person. Also, the texture of rocks, wave and clouds give the photograph a natural feeling. The artist used the extreme wide shot to take the sky and the sea as background, and that provide the broad negative space behind the person. Moreover, the artist uses the low angle to shoot the person. The use of wide shot and low angle gives the person the sense of power and dominance, also helped the character build themselves. The horizontal line between sky and the sea is balanced these two different things together with a smooth, fluent color and space. The overall colors in this photograph mostly are blue, white and black. As result, the temperature for this photograph is more close to cold, which gives the audience a calm, steady feeling. Moreover, the photograph has used the rule of thirds, which balanced the negative space (the person) and the positive space (sky and the sea).
INTERPRET:
From this photograph, I can feel the character is thinking about something, maybe something momentous because the wide shot of the sky and the sea makes the character looks more powerful and wiser. The sea is broad and extensive, which allows the reader to think about the character and relax in the natural background. I think the character in this photograph should be someone that is important. He is looking in distance, which gives me the feeling of he is thinking about the future, or somewhere far away.
DECIDE:
In conclusion, I believe this photograph is a wonderful photograph. It does not have any technique issue. In fact, the photo gives the audience a relaxed, comfortable feeling. The cold color makes the character looks calm, steady. The negative space and positive space created the balance between each other. I really like the way he takes this photo, the wide shot for the background and the low angle for the character are all very suitable. Also, I believe that this photograph expressed the idea from the artist because it shows an aspect of the character by using some powerful, effective camera techniques.
-EXAMPLES I COPIED THE STYLE:
-LIST OF SOURCES:
https://www.theguardian.com/artanddesign/gallery/2014/jan/05/mark-seliger-photography
https://fstoppers.com/business/search-perfect-portrait-exclusive-interview-mark-seliger-40011
http://www.stevenkasher.com/artists/mark-seliger
https://petapixel.com/2017/02/14/interview-photographer-mark-seliger/
http://www.lucies.org/honorees/mark-seliger/
https://www.vanityfair.com/style/photos/2017/07/espys-portraits-mark-seliger-exclusive#5
http://www.stevenkasher.com/artists/mark-seliger?view=slider#5
https://lens.blogs.nytimes.com/2013/08/05/photography-is-my-wife-music-is-my-mistress/
https://profoto.com/ca/profoto-stories/how-mark-seliger-lights-his-portraits
https://www.smartsheet.com/free-blank-timeline-templates
0 notes
Text
Miami and New York Architecture, Landscape & Design Photographer
Photographer Robin Hill is a creative soul with eclectic ideas.
Through observation and intuition, he works at the intersection of art, architecture and design, forging them together through the lens of his trusty Canon - the sketchbook through which he draws with light.
His vision is not impaired by opinion, trend or prejudice but is guided by instinct, good timing and a keen eye for beauty. He loves spontaneity but insists on being prepared - a low maintenance fellow with a high degree of integrity.
Architecture buff, artist, filmmaker and photographer - Robin works with light, not against it. He embraces modernism but appreciates the classical.
He enjoys collaborating with other creatives but also works alone. He’s an authentic person who understands the value of listening and diplomacy.
A lover of good company and intelligent conversation. A chess player, mountain biker and soccer fanatic who buys flowers for his wife on a Tuesday. A proud dad of a girl who has grown up too fast.
An Englishman with an American address - a tea drinker with a taste for coffee.
Robin Hill lives and works in Miami and New York.
CV: Robin Hill is an award-winning architectural, landscape and design photographer based in Miami and New York.
Magazine Credits:
Vanity Fair, Vanity Fair (UK), Wallpaper*, Elle Décor, Architectural Record, Architect Magazine, W Magazine, Vogue, Architectural Digest Mexico, Architectural Digest Germany, Modernism, Azure, Harper’s Bazaar, National Geographic Traveler, ISLANDS, Inside Out, Ocean Drive, Home Miami, Home Fort Lauderdale, TROPIC, The New York Times, Financial Times, Popular Photography, Shutterbug, Conde Nast Traveller (UK) American Way, SKY, Florida Travel + Life, GQ (Japan), Vanity Fair (Spain), L’Arcadizioni – Italy, Shanghai Wanchuang Culture Media – China, BOB – South Korea, Photo District News, Garden Design, Landscape Architecture Magazine, Inside Out, L’Arca, Modern, PLUM, Maru Interiors – Taiwan, Gestalten – Germany, Conde Nast Traveler
TV Credits:
2005 – 2008 Host for EMMY award-winning PBS Series ‘ART 360’
Movie Credits:
2005 ‘Where the Truth Lies’ Directed by Atom Egoyan with production design by Philip Barker. Photographs of mid-century modern architecture used to create set design.
Solo Exhibitions:
2015 Seagram Building - Four Seasons – Side by Side: The Glass Houses of Philip Johnson + Mies van der Rohe - Curated by Hilary Lewis
2013 Coral Gables Museum - The Glass House – Curated by Hilary Lewis
2010 University of Miami School of Architecture – Frank Lloyd Wright’s Florida Southern College. Curated by Jean -Francois LeJuene and Jacob Brillhart
2009 Charles Cowles Gallery New York – Frank Lloyd Wright’s Florida Southern College
2006 Lurie Fine Art Gallery Miami – MiMo and Beyond
2006 Design Within Reach Miami – ‘Le Corbusier – Villa La Savoye’
2006 Pthalo Gallery Miami - Waterworks
2005 Museum of Art Fort Lauderdale – Going, Going, Gone? Mid Century Modern architecture in Broward County
2005 Museum of Florida History – Tallahassee – Mid Century Modern Architecture in South Florida
2003 Britto Central – Song of Light Dance of Shadow
Group Exhibitions:
2017 Casa de Vidro – Sao Paulo – The Glass House
2014 Coral Gables Museum – Toward the New Millenium
2012 Harold Golen Gallery – MiMo
2010 Guggenheim Museum Bilbao– Frank Lloyd Wright from within outward
2009 Guggenheim Museum New York – Frank Lloyd Wright from within outward
2008 Kreeger Museum Washington DC – ‘The Architecture of Philip Johnson’
2008 DCOTA – Waterworks and other stories
2007 Lurie Fine Art Gallery Miami – Waterworks
2004 Art Miami – Miami Beach – MiMo
2003 DOT 51 Miami – ‘Song of Light, Dance of Shadow’
2002 Municipal Art Society New York – ‘Beyond the Box’
2002 Cooper Hewitt National Design Museum ‘New Hotels for global nomads’
2002 Seymour Hotel – ‘Beyond the Box’
Selected Lectures:
2017 University of Georgia – Mid Century Modern Architecture
2016 Sarasota Design Conference AIA – Keynote address on Architecture + Photography
2015 Creative Mornings Miami – ‘Chance’
2014 Leica Lounge – The Red Scarf + other stories
2014 Wolfsonian Museum – Frank Lloyd Wright’s Florida Southern College
2012 University of Miami – Frank Lloyd Wright’s Florida Southern College
2010 Miami Museum of Science – Miami Modern Architecture
Selected Awards:
2015 AIA Florida Architectural Photographer of the Year
2011 AIA Miami Architectural Photographer of the Year
2010 Nominee Black + White Spider awards
2010 Stars of Design Photography award from DCOTA
2006 Architectural nominee International Color Photography awards
2004 Miami Design Preservation League award
2002 Print Magazine Photo awards
1999 Miami Herald Tropical Best Photo
1999 Photo Essay of the Year. Florida Magazine Association
1996 Popular Photography – Your Best Shot
1995 Popular Photography – Zoom photo of the year
Photography in Books
Principal Photography:
2016 PROVENANCE – Icon Bay for The Related Group
2016 PROVENANCE – One Ocean/Marea for The Related Group
2010 Miami Architecture Guide – University of Florida Press
2006 Prologue to Greatness – The story of the Carnival Center – Herald Publishing
2004 MiMo: Miami Modern Revealed – Chronicle Books
1999 National Geographic Traveler Guide to Miami and the Keys – National Geographic Publications
Contributing Photography:
2017 Hughesumbanhowar Architects – Design Media Publishing
2017 Arquitectonica - Rizzoli
2013 Landscape Architecture Now - Taschen
2012 The Library of Philip Johnson – Birch Books
2011 The Tropical Modern Home – Rizzoli
2011 The Glass House – Rizzoli
2010 Florida Southern College – University Press Florida
2010 Miami Transformed – University of Pennsylvania Press
2007 Designing the Good Life, Norman Giller and Miami Modernism – University Press Florida
2007 The Glass House – Pentagram
Partial Client List:
PRADA, Guggenheim Museum, Zaha Hadid Architects, Herzog & de Meuron, FOGA, SHoP Architects, Grimshaw Architects, World Monuments Fund, National Trust for Historic Preservation, The Glass House, The Related Group, Related Companies, Terra Group, 1000 Museum, Maya Lin Studio, Shulman + Associates, Arquitectonica, Versace, Ermenegildo Zegna, Miami Design District, PAMM, FROST SCIENCE, RFR Holdings, Robert A.M Stern + Associates, American Airlines, Celebrity Cruises, ARSHT center, Chronicle Books, Rizzoli, Taschen, Assouline, East End Capital, RKF, Ogilvy + Mather, BACARDI USA, CANNON DESIGN, HOK, Perkins + Will, Cisneros Real Estate, Keenen Riley, Max Strang, EDSA, Sanchez + Maddux, Glavovic Studio, Municipal Art Society, Harvard University, KBS, KZ Architecture, Zyscovich Architects, Leo A Daly Architects, MikYoungKim, Poltrona Frau, Raymond Jungles, FORTUNE International, ST Residential, SB Architects, SoHo House, Silberstein Architects, Starwood Capital, Touzet Studio, Ware + Malcomb, Wolfsonian Museum,
Robin Hill is an award-winning architectural photographer based in Miami and New York, who works, exhibits and lectures around the globe.
#bio#robinhillphotography#miamiphotographer#newyorkphotographer#architecturalphotographer#landscapephotographer#artphotographer#designphotographer#portraitphotographer
0 notes
Text
Mario Testino
“Peruvian photographer Mario Testino is known worldwide for his portraits of some of the most famous faces - from the Royal Family to Kate Moss, Naomi Campbell and Madonna. Having also shot campaigns for the likes of Burberry, Gucci, Dolce & Gabbana and Versace, he is in very high demand. British Vogueeditor Alexandra Shulman said in her contribution to his book, Portraits, that Testino's work makes you look better than you could imagine "not in your wildest dreams, but at the remotest end of possibility."
Testino was born in 1954 in Lima, Peru.
He moved to London in 1976 to begin his career in photography. Living in a flat in an abandoned hospital near Trafalgar Square, he made a living selling portfolios (for £25, including hair and make-up), to models.
His work first appeared in Vogue in 1983 and
he has since shot countless covers for the magazine all over the
world.
In 1997, Testino was commissioned to photograph Princess Diana
for her famous Vanity Fair cover. This not only
launched his career into international acclaim, but also initiated
a long-standing relationship between him and the Royal Family. On
photographing the late Princess of Wales, Testino told
the Telegraph "I wanted the world to see her
kindness, her humility."
In 2002, the National Portrait Gallery hosted his
exhibition Portraits which broke the record for
their most attended exhibit.
At a charity ball in 2008, a sitting with the photographer was auctioned for £1.26 million.
In 2010, he was awarded The Grand Cross Order of Merit in Peru - the highest honour in his native country.
In the same year, Testino was commissioned to take Prince
William and Kate Middleton's official engagement photographs. The
picture of the couple hugging was a moment of "spontaneous emotion"
the photographer later said in an interview
with the Telegraph.
In 2011, he photographed Kate Moss' wedding to Jamie Hince.
Later the same year, he received an Honorary Fellowship of the
Royal Photographic Society, GQ's prestigious Inspiration
prize and the Moët & Chandon Etoile Award during London
Fashion Week.
Testino has been recognised numerous times for his charitable
contributions. He is a Save the Children ambassador and, in July
2012, he launched a not-for-profit cultural organisation in Lima,
Peru. The organisation, Mate, promotes and showcases the work of
Peruvian artists. He told Vogue "I wanted
to give back to my country and I figure the best way that I can do
this is by giving back through culture."
In 2013, he shot Cara Delevingne for Burberry's Body Tender campaign - her first fragrance shoot.
In January 2014, Testino was awarded with an Honorary OBE for his contribution to the fashion industry.” - http://www.vogue.co.uk/article/mario-testino-biography
I particularly like Testino’s work because of his aesthetic. He goes for a lot of black and white vintage type of image, but then he also does immaculate images with Cara Delevigne and Brad Pitt.
I really like these images because they're bland but thats kind of the point as she is caked in foundation for an advert that they would have asked Testing to shoot, she loves the make up brand so much that she covers herself in it.
My favourite images i have come across of his work are these images he did of Brad Pitt, i think these are a favourite because not only does the model look relaxed and into it, the images work great, the red really makes Pitt stand out in front of the back drop, the lighting also stands out, i picked this up from the shadows cast behind him, they're not too sharp - this also helps to tell that this is studio studiowork.
0 notes
Photo
GQ Magazine, 2002
Part II.
On the other hand, I said, you could argue that the twins exist mainly to make money for adults like Thorne and Zimmerman. Thorne rose to the defense: The Olsens have made plenty of money for themselves. "They're set for life, and their great-grandchildren are set for life. I don't know if that's bad. They're filthy rich and control the biggest kid-entertainment empire in the history of the world. So yeah, adults are making money, but no one's making as much as they are." [..]
The only thing Thorne couldn't tell me is what the empire he created meant. He kept talking about the "Olsen brand" and its aspirational qualities. I wondered what the Olsen brand was supposed to represent. Most brands have a slogan, I told him, something that wraps up in a sentence what the brand is about. What were Mary-Kate and Ashley about? Aha! He said. Somebody in the office had come up with a slogan. Wrote it down on a napkin. He flung open his door and screamed into the hallway, "What was that slogan?!" No one could remember. Though he couldn't recall the term, he did try to explain what the Olsens symbolized: "They're real beauty for real girls, the fashion is real for real girls, the magazine is real talk, the dolls...are really dolls....real books. The point of all that is, it's all about real." And what of the real girls? It's easy to forget the actual girls in this brand empire, since they do so much representing and signifying. I had to interview them over the phone - they lead very busy, very normal lives, Jill Zimmerman kept telling me, they have school and shopping and boys. They get massages. They fly to London, Paris and Venice for their movies. Normal, normal, normal. They're normal girls. Maybe that should be their slogan. Mary-Kate spoke to me from the innocence of her bed. Both her and her sister were sweet and adorable, as I knew they would be. Ashley more grounded and savvy, Mary-Kate more sparkly. "Mary-Kate and Ashley are not the kind of people who go to nightclubs like Drew Barrymore," said Ashley. "I do everything else that other kids my age would do," said Mary-Kate, "even though I wouldn't know."
Back at the offices of Dualstar, Thorne became more obsessed about finding a slogan that defined the Olsen essence. He disappeared for a long while, leaving me alone in his office, then suddenly barged back in with an absent look on his face, like Uncle Billy having lost the money in "It's a Wonderful Life". "We'll find it! But anyway, what defines them is that they're number one. They're number one in every category - fashion, videos, magazines. And why - what does it mean? It's entertaining- real fashion, really cool stuff. I don't know if it's any deeper. This one sentence says it all, and we'll find it."
#mary kate and ashley#mary kate olsen#ashley olsen#gq magazine 2002 gallery#articles#robert thorne#stills#2002#photoshoot
11 notes
·
View notes
Text
Essay
Analyse why and how Sam Taylor-Wood, John Coplans and Phil Toledano have created photographic/ lens-based work that frankly and honestly addresses issues to do with both ageing and mortality.
The process of ageing is a natural one and results from the way that time affect both biological organisms and physical, seemingly ‘permanent’ material. The process of ‘ageing’ has many scientific explanations behind it and it has been widely researched in order to understand diseases that are age-related. More recently researchers have been looking into whether ‘life’ and therefore the ‘ageing process’ can be prolonged. Anti-ageing creams and the uprising popularity of cosmetic procedures as led to a rise in people seeking to ‘look’ younger than their years. Diets, exercises and medical procedures have been the topic of discussion in society regarding how we can all look and feel younger no matter how much we biologically age.
It could be fair to say that attitudes towards ageing have changed throughout recent years and that ‘respect towards our elders’ has declined. Many people might consider that this situation could have arises due to a rise in social media, arguing that ‘ageing’ is not really presented an overly positive way on most media platforms. In News reports, it is quite common to see that ‘Ageing’ is now often portrayed as a debilitating process and this is presented in a pessimistic way. It could also be argued that women are under far more scrutiny than men when it comes to general attitudes towards ageing i.e. whether they embrace the odd grey hair and wrinkles or choose to use cosmetic procedures to halt these natural signs of ageing.
The process of ‘ageing’ brings about a series of social implications for older people such as quality of life and the loss of independence. John Coplans addressed issues such as these in a series of nude self-portraits that have the potential to break down society’s barriers concerning body confidence and pride. John Coplans was born in London in 1920 and served in the army for 8 years before returning to civilian life to become an artist. From his early childhood, he had developed an admiration for his father who regularly took him to galleries which influenced his career in art.
Coplans’ work features a series of nude self-portraits, ‘Serial figures’ (1984-1994) which are presented in black & white and have been taken using a Polaroid camera. Coplans did sometimes use an assistant, however much of the setting-up was undertaken by himself because he liked to be in control of the shots he took and how they were developed. Coplans didn’t include his face in the photographs because he wanted to create a set of photographs featuring a body with no ‘set’ identity. This corresponds with what Coplans said about the images and how he feels when he is posing for them: “I wanted to be all the people in the world, I wanted to be all the people in the world that have ever been in the world.” (Coplans, 2002) It is clear that the photographer wanted his body to be a universal model to represent bodies that are real and have been through the process of life.
When discussing his body, John Coplans has said: “I don’t really deal with old age, as I say it’s merely a condition that I’m in, that I have to make use with as best as I can. And I pretend that my body is young” (Coplans, 2002). It can be assumed that Coplans believes he can expose the frailty of his personal pride whilst his images display self-confidence. These photographs are direct, honest and expose the minute details of his body. He is very honest because he admits to his self-perceived ‘flaws’ and welcomes them as part of his body. It can be argued that this series of work also explores the concept of ‘self-perception’ because Coplans is showcasing his own body in a variety of stances and poses that reveal every wrinkle, scar and varying textures on himself; in this way, he has virtually turned himself into a living piece of art, something to look at and contemplate on.
The context in which John Coplans has taken his photographs invites the discussion as to whether there is a current taboo regarding the process of ‘ageing’ through his frank and seemingly provocative approach to photographing his own body: “Even though it’s a seventy-year old body, I can make it interesting. This keeps me alive and gives me vitality.” (Coplans, 2002) Creating his work gives Coplans a new lease of life as he said, the work does not only gives himself self-confidence and pride but gives a strong message to others that they can appreciate their own bodies. Therefore, it can be argued that Coplan’s work very much advocates the question that ageing can be photographed frankly and honestly because he has been able to create a series of photographs that exactly do this. However, some people may disagree that Coplan’s work is inspirational and change their view point on ageing. Many people develop their own internalized opinions of themselves and regarding ageing viewing somebody else’s body may not be personal enough to change them.
Phil Toledano was born in London in 1968 to a French-Moroccan mother and an American Father. He is a socio-political artist and has created work ranging from photography to full-scale installation. His work has featured in Vanity Fair, The New York Time magazine, The London Times and GQ. ‘Days with my father’ (published 2010) is a series of photographs by Toledano documenting his relationship with his father over a time span of over four years until his death in 2009. Phil Toledano’s father was suffering with Dementia, a degenerative condition resulting in the deterioration of cognitive function most commonly affecting memory. Sufferers of the disease are eventually unable to function and perform basic daily tasks such as remembering to feed and wash themselves. In the later stages of the condition, patients are unable to recognise their loved ones and experience a lot of stress as a result. It could be said that Toledano’s motivation to document his father’s illness was to highlight how devastating the condition is, both physically and emotionally not only for the individual themselves but those closest to them. Toledano himself said, ‘There are ideas that I find really intellectually interesting, and there are things that are like, my soul, nakedly exposed, right? Like “Days with my Father,” It is clear that for Toledano the project was extremely personal to him and he used it as the opportunity to show the strength between him and his father in such tragic circumstances.
It is fair to say that the photographs in this series are striking and sad, yet at the same time they are full of strength and love. Tender exchanges between Toledano and his father are captured, freezing them as moments in time forever. The context in which the photographs have been taken is a deep reflection on someone else’s wellbeing. The wider issues that the images address include the social implications surrounding ‘palliative’ and ‘end of life’ care. This series ‘opens the door’ on both the mental and physical challenges that his father faced in the last few years of his life due to a combination of ageing and dementia. The image of his father staring in to his own reflection is particularly haunting because the expression on his face is blank and confused. The lighting of the image also creates a crushing atmosphere, Toledano’s eyes look dark and tired.
The image reveals the full extent of his father’s frailty and how the Dementia has ravaged his mind and completely taken over his body.
The set of photographs are a personal record of Toledano’s relationship with his father until his death which addresses the social issues surrounding ageing and the acceptance of our own and our loved ones’ mortality in a frank yet sensitive way. Toledano’s work is a documentation, so the images are appropriately presented in real-life ‘colour’ using just the available lighting. It could be argued that this creates a link between the subject and those who view it because the setting in which the photographs have been taken in are familiar as they portray an easily recognisable environment.
It could be argued that the relationship between Toledano and his father portrays an immensely strong, unique and irreplaceable bond between them. Toledano reflects on caring for his father and how he sees it as a token of thanks: ‘This is my hypothesis; I think that when I was born, when I was a kid, my Dad decided he was going to be a father and that meant giving up certain aspects of his personality. When my mum died, I think my father reverted to somebody he used to be when he was younger’ (Toledano, 2011) There is an underlying aspect of respect for his father’s sacrifices that he made for him which he cannot now provide because of his father’s dementia. It would be fair to say that Toledano’s father has almost swapped places with his son, reverting to becoming a helpless child who needs to be fed, washed and watched over. His father is a shell of his former self which must been painful for his son to experience daily. It can be argued that the photographs almost became a visual diary which is completely personal to Toledano and his father because it records many emotion and challenges that he had to face both as a carer and son.
The following image is particularly poignant because of the context in which the image was taken, days before his father’s passing. The exchange of hands gives an insight into the strong love Toledano’s father has for his close family and friends in his final days. The lighting is very strong in the photograph, the rest of the shot is cast in shadow whilst the hands are illuminated by light, emphasising the lines and wrinkles on is father’s hands. The overall tonality is very quiet and subdued, adding to the somber mood in the photographs.
The context in which Toledano has taken these images is very personal and unique to both himself and his father. When he started taking photographs of his father he did not expect to receive the attention and appreciation for his work as so many people in a similar situation reached out to him as they could relate to his work. ‘I got two emails today from people saying they had just found out their parents had a terminal disease and reading this project had re-orientated the way they were going to approach; they were going to deal with the last years of their parent’s life. So, it’s a real honour for me to have done something so inadvertently but helped so many people.’ (Toledano, 2011). It is evident that Toledano’s work has provided support and triggered a response from the general public to talk and open up about their struggles with ageing parents who are chronically ill.
The issue of valid consent should be discussed in regard to Toledano’s documentation, he was photographing a very old and frail man who was in the secondary stages of a severe mental disease and it could be argued that he would not be fully aware of what his son was doing. Very intimate and personal moments were included in the project including scenes of him in disarray which are particularly upsetting as well as private situations such as being washed in the shower. If his father was well and younger he may not have given his permission for these photographs to be taken and published for a wider audience. Even though ageing is not addressed enough in the media, it does need to be handled sensitively within the permission of the subjects being used/shown.
Overall, Toledano’s series of photographs offer a very frank insight into the management and social implications of ageing and ageing related disorders such as Dementia. Although, the consent of the images can be questioned, as a son Toledano created a memoir of his father to highlight both the physical and psychological strains of elderly healthcare and the true extent of Dementia and how it can impact both the individual and their loved ones.
Sam Taylor Wood is a film director, photographer who was born in London in 1967. At the age of nine, her parents’ marriage broke down and she moved to a hippie community with her mother and sister. By the young age of 15, she was abandoned by her mother and had to look after her much younger half-brother resulting in a very unhappy childhood. Taylor-Wood was quoted to say that she became an artist to reinvent herself after her ‘restricted’ childhood and she graduated from Goldsmiths in (when) with a degree in Fine Art.
Taylor Wood's motivation for photography, film-making and other art-based projects is clear from the following quote: ‘I found my voice the minute I started to think in terms of film and in terms of photography and images and people. My work is pretty much about emotions, different states of being that have really preoccupied artists for however long, centuries.’ (Sam Taylor-Wood, 2008). Therefore, it is fair to say that she is actively motivated by global issues experienced by many people including ageing and mortality.
Her short film pieces 'Still Life' (2001) and 'A little death’' (2002) clearly addresses the biological process of ageing, showing the actual decay and the breakdown of animal and fruit flesh. Taylor Wood herself has spoken very clearly about both of her projects and what they mean: “Still Life conveyed a grace in the decay but with A Little Death it was not only violent, but shockingly violent.’ It is clear that she was aware of how graphic the footage was and the impact that would have on her audience, it was an artistic risk she would take to portray ageing in this light.
Little Death (2002)
'A little death' is a time-frame image that involves the decay and disintegration of a hare placed alongside a piece of fruit. As time passes, the subjects begin to change shape, colour and even the texture and are transformed into a completely new image. Mold begins to manifest and grow over the subject matter, creating an image that very much captures the morality of natural things. It would be fair to say that many people would find this piece is very powerful it embraces the power of time and portrays the implications of this as an opportunity for new material to grow and replace what was once there.
Still life (2001)
Similarly, 'Still life' (2001) incorporates the concept of 'death' into the manipulation of perishable items; however, it is juxtaposed with a ‘Bic’ biro which remains seemingly intact throughout the work. The placement of the biro is believed to have a profound meaning, “Wood included this pen in the frame because it is showing two common objects seen in everyday life that can and cannot be affected by the passage of time. The pen is an object which appearance will not change over time naturally.” (Emberson, 2011). In her work, Sam Taylor-Wood has successfully challenged the constraints of beauty ideals and the process of decay. Creating a moving image and incorporating a fine art into her work enabled her to create a unique and delicate piece of work addressing the biological process of ageing in a shamelessly upfront way.
Conclusion Question: It could be argued that the process of ageing is a very personal experience; is it possible for any artist or photographer to produce a body of work on this topic that would resonate with a majority of its viewers?
My personal connections with ageing have developed as I have grown older, seeing my own grandparents age over the years. My grandmother especially as embraced ageing; filling her time with various clubs and activities, maintaining a positive attitude to her age and making the most of each and every opportunity she comes across to spend time with her family. This made me want to explore ageing differently, embracing the ageing body and shedding light on those who are elderly but live their life to the fullest regardless.
From research I have carried out, it appears ‘ageing’ is not a topic that is at the forefront of many popular media outlets. A talk was held at Queen Mary University of London in 2015 entitled 'Portraying Ageing: The Cultural Assumptions and Practical Implications' and one of the main issues discussed was the fact that fashion had traditionally been designed and intended for younger people. This can be backed up from the hundreds of magazines bought on a daily basis that that show our preoccupation with youth and the type of beauty associated with it from which people fantasise and internalise as what they should emulate. An implication of this ‘youth obsessed’ media coverage could be the lowered self-esteem felt by of older people who feel ‘invisible’ because they cannot see their body type or fashion style portrayed positively in the media. When older people are featured in the media it is usually in a negative light, for example news outlets often report on the rising demand for social care for the elderly and the crisis in which our country is now in concerning that matter. Another issue for elderly people being represented in the media is that they are normally featured to advertise items such as ‘over 50s life insurance’ or funeral plans, elderly actors and actresses are only considered for this pessimistic and stereotypical jobs.
When Phil Toledano’s book which documented his father’s terminal illness was published, it compelled hundreds of people to write to him and share their own experiences of caring for elderly and sick parent. I would argue that because this body of work provoked this response from his audience, it does seem to prove the fact that his work has resonated with them. Toledano himself said that people had written to him to say that the images made them feel more appreciative of their own elderly parents and that it encouraged them to visit their parents more regularly. Therefore, it is evident that photographing imagery that is associated with ageing as a concept and a social implication can make people talk and have a connection to the work as the subject matter is personal to us. I think the most important aspect of Toledano’s work is that we, the viewer, understand the context in which they have been taken. His father’s terminal prognosis and degenerative memory issues meant that the photographs have a deeper meaning. The work that he produced is also emotive, the images of his father gazing at himself is upsetting to see because of the nature of his condition. When we can feel an emotion from an image, it will resonate with us and it will stick in our mind for some time.
Each of the artists I have studied in this essay have approached the concept of ageing and mortality in a different way which probably has provoked different responses within their potential audiences. John Coplans seems to resist this concept through his raw and shameless self-portraits which shed a light on the type of ‘real’ bodies that make up a huge number of the ageing population, and ignoring any ‘perceived’ rules of physical beauty. I believe this would create a strong resonation with Coplan's audience, by exposing his own frailty and unique body shape to his peers may encourage them to embrace their own bodies and be proud of what their bodies have been through. He doesn't enhance aspects of his body in any way, instead his portrayal is a truthful documentation that successfully breaks the ‘media’ standard of beauty. I believe that John Coplan’s series of photographs has resonated with a potentially wider audience than Toledano because he photographed subject matter that is personal to many ageing people, that is, the truthful appearance of an ageing human body. His self-confidence in taking these photographs and then presenting them to the world would surely evoke a response from his peers because the subject matter is often hidden from us in the media and shamed upon. Also, people may not shame others for their bodies but themselves, which is just as demoralising because they find it hard to accept themselves. I believe it is refreshing to see an artist who is older and who is confident to use his own body to break social stereotypes that can make mature people self-conscious over how they look and how their body is changing as they age. I believe that in contemporary Western media and society in general, the ageing body is often reviled and frowned upon. I am hopeful that Coplan's work has been able to help older people of all
ages to not feel shame on their body but appreciation for what an amazing and complex system it is, helping us to get through our day to day life for many years.
Coplan’s upfront portrayal of ageing could have potentially resonated with a wider audience because the experience of the ageing body is universal but may not have had such a deep impact as Toledano’s documentation of Dementia which is a devastating deterioration of the body and mind altogether.
In contrast, Sam Taylor-Wood’s work is symbolic and harder to decipher, she uses a composition of still life subjects such as decaying fruit and carcasses to create a composition. It is not clear whether her work would gather as much attention as Toledano in the same light. However, her work is very art based and she is very prevalent in the industry, so her work is likely to be viewed critically and to a large audience.
There is a stark difference between the work of Wood and Toledano, I would argue that Toledano's work is much more informative and personal to the audience because it is a real-life documentation. Even though Sam Taylor-Wood's pieces show how 'beautiful' and colourful decay and ageing can be it fails to have a personal link with the audience. For many, they may not even be able to identify the purpose of the bic biro being placed in 'Still life' (2001) an ordinary object that fails to disintegrate.
During my project, I wanted to explore the fragility of the ageing human body and John Coplans is a strong inspiration because he was fearless with exposing his own ageing imperfections in his self-portraiture work. I have edited some of images with a very high structure to accentuate each and every fine line similar to Coplan’s images that have a high contrast and detail to include these unique textures found in ageing skin and bodies. I believe personally that ageing bodies are much more interesting because they have been used and exactly what they have been through is very clearly documented on them in the shape of scarring and texture.
Example of one of my images exploring ageing and texture.
In my own exploration of ageing, I took inspiration from both Phillip Toledano and John Coplans. Toledano’s meaningful exploration of his elderly father influenced my photographs of my grandparents in terms of soft lighting and effective composition. The ‘Days with my father’ series illustrates and communicates the day to day challenges and insignificant yet special moments that Toledano’s father experienced during his final months. My images include ordinary moments with my grandmother as she continues to lead a busy life. To a certain extent, my photographs contrast to Toledano’s in terms of my subjects who are well and ‘living’, they are not in the final stages of a terminal illness. However, Toledano’s work was appropriate to my project because I wanted to emulate his reflective style and sensitive handling of ageing which I Believe is evident in my photographs.
I also photographed my grandfather and the image of his hand grasping onto his walking stick, it is representative of both his disability but his strength to deal with it each day of his life. The image has personal significance to myself because my grandfather is a very strong-willed person, so I wanted to create imagery that reveal his personality and motivation to continue a normal day to day life. I believe my images of my grandparents are quite reflective, many of them feature a moment of their day or a quiet time of contemplation.
Another artist that inspired me to portray ageing was Zoe Barker, she is a small freelance photographer whose exhibition ‘SABA- the rust of time’ explores both the ‘living of life and the passage of time’. Her work has also been shared by news outlets, including her work called ‘The house of two sisters’.
Barker’s project is called ‘SABA’ which in Japanese translates to ‘The rust of time’, therefore I can gather that the work has a strong message and ethos about how ageing is not only beautiful but essential in change. This theory is backed up by the multiple images that Barker has taken that we can interpret as positive captures of ‘time’ working on physical material and human life. Her work is able to resonate with her audience because she photographs the rust of everyday items and accentuates these natural processes in terms of texture and colour to create ‘beautiful’ final images.
Saba-Rust of time
Unlike the work of Toledano and Coplans, the images do not have a personal connection with Zoe herself however it can be argued that the images have a deep connection to the people who lived in the locations many years ago. Ornaments, photographs, clothing and everyday objects give the audience snippets of the lives that were led in each abandoned home. This creates a direct human connection between the audience and inhabitants as belongings that we deem sentimental are left to decay and change form.
In my own work, Barker’s work inspired me to find ordinary compositions of buildings and windows to create haunting beautiful images of abandoned places. I wanted to use natural light and shadow within this broken down and decaying imagery to highlight the endless detail and natural colours that are created when an object breaks down and decays. In this particular image I was fascinated by the minute detail in the peeling paint and decay of the wood, I wanted to show that these natural processes are interesting and aesthetically pleasing.
Example of one of my decaying building images
I do believe all three photographers shed light on the implications and reality of ageing in a productive yet sensitive light. Toledano and Coplans face the harsh realities of ageing on both the body and mind as Sam Taylor-Wood approaches the subject in a more symbolic fashion. It is intriguing to see how each of the artists has interpreted their subjects to convey a deeper message behind their work concerning mortality and age. In regard to the audience, I think that Toledano and Coplans can successfully captive their viewers because the subject that they photograph is themselves or their loved ones and it is easy to apply your own emotions to the images. Sam Taylor-Wood’s images aren’t as personal and more symbolic. Her work is more successful in regard in an artistic way but wouldn’t have the ability to resonate with its audience on a personal level.
Bibliography
Cooper Union Memorial, John Coplans Trust, 2004. John Coplans: An artist biography. 2004. Vimeo. [Online] Date accessed: 14/11/16.
Available from: https://vimeo.com/184032913
Emberson, A. 2011. Sam Taylor Wood (Still life). 21/1/11. Andrew Emberson - Word press site. [Online]. Date accessed: 7/11/16.
Available from: https://andrewemberson12.wordpress.com/2011/01/21/sam-taylor-wood/
Grammoll, M. 2 2015. Story analysis: Phillip Toledano’s “Days with my father”. 28/9/15. Mckenna Grammoll Word press site. [Online]. Date accessed: 13/1/17.
Available from: https://mckennagramoll.wordpress.com/2015/09/28/story-analysis-phillip-toledanos-days-with-my-father/
Fox News. 201. Days with my father interview. 1/6/11. Fox news. Date accessed: 7/12/16
Available from: http://video.foxnews.com/v/927089568001/#sp=show-clips
Roshdy. S. 2016. The body and shame: An exploration of the progression of John Coplans. 26/9/16. Shajara Roshdy- Youtube. [Online]. Date accessed: 23/11/16
Available from: https://www.youtube.com/watch?v=j2BJRwbCTCY
Taylor-Wood, S. 2002. Little Death. Sam Taylor-Wood website. [Online]. Date accessed: 9/11/16.
Available from: http://samtaylorjohnson.com/moving-image/art/a-little-death-2002
Wikipedia, 2016. John Coplans. 6/10/16. Wikipedia, the free encyclopedia. [Online] Date accessed: 14/11/16.
Available from: https://en.wikipedia.org/wiki/John_Coplans
WVIZPBS, 2008. Brief applause: Sam Taylor-Wood. 11/2/08. WVIZPBS- Youtube. Date accessed: 9/11/16.
Available from: https://www.youtube.com/watch?v=gzuWjwcqTcs
Zimmerman, P. 2008. Sam Taylor-Wood: "Still Life" and the acceptance of mortality. 10/4/08. Et Cetera: Publick and Privat Curiosities. [Online]. Date accessed: 7/11/16.
Available from : https://disembedded.wordpress.com/2008/04/10/sam-taylor-wood-still-life-and-the-acceptance-of-mortality/
Age Watch. How is ageing portrayed? Date accessed: 22/4/17
Available from : http://www.agewatch.org.uk/ageing-why-and-how/how-is-ageing-portrayed/
0 notes
Photo
GQ Magazine, 2002
“I can tell you our lives are a much more interesting story than Full House.”
—Ashley Olsen (Influence, 2008)
#mary kate and ashley olsen#mary kate olsen#ashley olsen#gq magazine#gallery#gq magazine 2002 gallery#stills#photoshoot
11 notes
·
View notes
Last Seen Blogs
p-pussy-y
P-pussy-Y
the-moogs
fantasmic ! ✨
francisjameschild
dedicated to the traditional folksong
vap0r-eyes
Just a Polygon fanblog