You have to check out this Tumblr: http://trapers.net/ I absolutely love it.
You have to check out this Tumblr: http://trapers.net/ I absolutely love it.
In January 1985 Leigh Bowery started the now infamous poly-sexual Thursday disco club night “Taboo”. Originally an underground venture, it quickly became London’s Studio 54, only much wilder, extremely more fashionable, and without the masses of celebrities – although these came flocking in later. For everyone stepping through the doors it was a truly unforgettable experience.
Mark Davies wrote a book which later became a stage musical with lyrics by Boy George, and music by George and Kevan Frost.
Set in an abandoned London warehouse, the partly imagined story takes place in the location of what was the city’s most fashionable nightclub, the now-legendary Taboo (1985–87) of the title. Boy George is featured as one of the club’s regulars. The show also focuses on George’s life prior to and after achieving fame.
The show premiered in London’s West End at the Venue Theatre on January 29, 2002. Now in September 2012, Director Christopher Renshaw revived the show in a “site specific” form in Brixton Clubhouse in South London. The production was based on the original show with book by Mark Davies, but included several changes to the original soryline.
In this revival, Sam Buttery plays iconic 80s performance artist Leigh Bowery in Taboo, the story of bill-topping performers who defined a generation, including Steve Strange from Visage, the indefinable phenomenon that was Leigh Bowery, the one-man entrepreneur extraordinaire Philip Sallon. And then of course, there’s Boy George, travelling from squat to super-stardom from rock to rock bottom. The show interweaves some fantastical facts of the 80s with a classic love story of ambition, passion and betrayal.
Watch below a documentary about the FABULOUS Leigh Bowery and the original Taboo for your enjoyment. Shown during the spring of 1986 while Leigh Bowery was running his infamous nightclub Taboo, this documentary put Leigh on the map. A witty, provocative and inspiring film that includes a Bodymap fashion show, rare footage of Taboo, and interviews with Michael Clark and Lana Pillay, this documentary also reminds us what Leigh was like before he met Lucian Freud.
Programming plays a huge role in the world that surrounds us, and though its uses are often purely functional, there is a growing community of artists who use the language of code as their medium. Their work includes everything from computer generated art to elaborate interactive installations, all with the goal of expanding our sense of what is possible with digital tools.
To simplify the coding process, several platforms and libraries have been assembled to allow coders to cut through the nitty-gritty of programming and focus on the creative aspects of the project. These platforms all share a strong open source philosophy that encourages growth and experimentation, creating a rich community of artists that share their strategies and work with unprecedented openness.
Aubrey Beardsley was born on 21 August, 1872, in Brighton, England. The family, of middle and upper middle class origins, was often nearly destitute. He attended Bristol Grammar School for four years as a boarder, indulging in his talents by drawing caricatures of his teachers.
In February of 1893, Wilde’s scandalous play Salome was published in its original French version. An illustration inspired by the drama was admired by Wilde and Beardsley was commissioned to Illustrate the English edition (1894).
Not content with art alone, Beardsley expressed an intense desire to translate the French text after Wilde found the translation by his intimate, Lord Alfred Douglas, to be unsatisfactory. This assignment was the beginning of celebrity but also of an uneasy, and at times unpleasant, friendship with Wilde, which officially ended when Wilde was tried and convicted of sodomy in 1895.
Beardsley’s fame was established for all time when the first volume The Yellow Book appeared in April 1894. This famous quarterly of art and literature, for which Beardsley served as art editor and the American expatriate Henry Harland as literary editor, brought the artist’s work to a larger public.
It was Beardsley’s starling black-and-white drawings, titlepages, and covers which, combined with the writings of the so-called “decadents,” a unique format, and publisher John Lane’s remarkable marketing strategies, made the journal an overnight sensation. Although well received by much of the public, The Yellow Book was attacked by critics as indecent. So strong was the perceived link between Beardsley, Wilde, and The Yellow Book that Beardsley was dismissed in April 1895 from his post as art editor following Wilde’s arrest, even though Wilde had in fact never contributed to the magazine.
The film After Beardsley attempts to depict today’s world through Beardsley’s eyes and in his drawing style. Showing Beardsley’s better known drawings, some of which take on a different guise later in the film. Written and drawn by Chris James.
Humans since 1982 are based in Stockholm. Their claim is to arouse curiosity by creating material hints of how the world might be. Both born in 1982, Per Eman (Sweden) and Bastian Bischoff (Germany) founded their studio in 2008 during their Master graduation at HDK Gothenburg.
Their “Surveillance Light”, was initially shown at Stockholm Furniture Fair in 2008. It was well received not only in the design and art press but also in political blogs and magazines. The presence in media brought Humans since 1982 together with Brussels based gallery Victor Hunt.
During their graduation thesis in 2009 they developed their projects, “Celebrating the cross” and “The clock clock”. Whilst “Celebrating the cross” was perceived ambiguously and polarized journalists and reader on religious and political blogs, “The Clock clock” evoke unanimous positive reaction. For their thesis, Humans since 1982 received a price for the best graduation work at HDK and were received by Wallpapers graduation Directory. With “Celebrating the cross” they were nominated by Li Edelkoort for Designhuis’ “European Talent”.
“A Million Times” is a new project by humans since 1982. It’s similar to their The Clock Clock project, this time they’ve used 288 clocks which can be controlled by an iPad. Humans since 1982 will present their kinetic work “A million times” at Design Days Dubai / Victor Hunt Gallery from 18. — 21. March 2013.
1 YEAR ANNIVERSARY \ CYBERFEMINIST BLAST \ 9TH OF MARCH in Berlin!
8 BiT VoMiT is a series of New Media art and music events founded by Graphic designer, DJ and artist Olya Levistova and Social Media and Promotion enthusiast Tanja Korobka. It has been created by London Chip Swarm with a mission to grow chiptune scene.
Lose yourself in explosive electronic beats brought to you by Mindpirates, 8bit Vomit, Chip swarm and DIY Church with a gathering of DJs and live acts from all over Europe. Dance your heart away and free your soul in a mix of industrial, noisy and loud sounds with visuals by NZNZ, Gabifront, and Wario.
Meet the creatures of tomorrow to have a night of future fun with: COMPANY FUCK (AU / DE), MIDI MAN, Del_F64.0 & Zustand D. (DE), BEN BUTLER AND MOUSEPAD, SANTISIMA VIRGEN MARIA, DR. NEXUS and EYE, DJ OLIO (EE), DJ MICHAEL ANISER (noisekölln/epitaph). VIDEOGAMEZONE BY Qubodup (Joyridelabs).
Glenn O’Brien’s TV Party blew the dust out of New Yorker’s air ducts for four odd years from 1978 to 1982. The hour-long live, unscripted show took advantage of New York’s early-ish cable access world — a world mandated by a deal that cable networks could have their little monopolies as long as the public was granted free access to a certain percentage of airtime. It’s a deal still going on all across America today, and after watching a little TV Party, you’d be a damn fool not to get involved. You see, TV can be fun, and you can make it! As for TV Party — essentially a showcase for what O’Brien and friends thought of as cool — it’s not for everyone. But those who like bizarro television, the downtown New York scene of the day, or cult movies and TV with a capital C (Liquid Sky or Robin Byrd’s porno talk-show, for instance) will get a serious kick from this experiment in ‘socialist TV’ — the TV show that’s a party, but it could also be a political party.
The Sublimely Intolerable Show aired January 8th 1979, with O’Brien (writer, Warhol-ite and once New Wave gadabout) loosely holding the reins — flogging the horse or letting it stumble down rocky inclines, however he, his guests, audience or callers saw fit. Aired in black and white, the night’s guests included Compton Maddox and John Moses playing weird guitar tunes, Klaus Nomi singing opera, and Andy Shernoff covering the Beach Boys, (backed by Tish and Snooky of Manic Panic fame). Downtown director Eric Mitchell plays a clip of his movie Kidnapped while plugging the New Cinema Theater, director David Silver and Kate Simon do ‘White People Talk About Reggae,’ and finally Debbie Harry, Chris Stein (also of Blondie and later official co-host of TV Party) and Richard Sohl help O’Brien with the viewer call-in segment while passing a joint.
According to O’Brien’s TV Party website, David Letterman once told Paul Schaeffer on air that “TV Party is the greatest TV show anywhere, ever,” and for those of us now corn-fed on the GMOs that are Two and a Half Men and their ilk, it’s hard to argue. The show thrives on O’Brien’s heartfelt diffidence (hard to manage, true) and an anything-can-happen dangerousness that’s impossible to fake. It appears effortless because in many ways it was, semi-professionals aided and abetted, and total amateurs did little things like; operate cameras and run sound. In fact the first five or ten minutes of Sublimely Intolerable have no sound at all, nothing but random pops (as people scurry to fix the problem) and (also according to the TV Party website) Jean-Michel Basquiat typing super-graphics like “Oh no! No sound! Fuck!” Top-notch scenester entertainment makes up for deficiencies O’Brien encouraged. Maddox and Moses’s pre-ironic ironic numbers bubble dangerously, with O’Brien and Debbie Harry et al dancing in lab coats. Klaus Nomi’s unearthly soprano aria and equally alien demeanor are stunning and bizarre. Shernoff is cool enough — while pointing out how even the most insipid Beach Boys song comes with a super-sharp chord progression — and director Mitchell seems baffled and is baffling.
White People Talk About Reggae rides a dangerous edge; the audience mocks, Simon and Silver seem defensive talking about the ‘music of upliftment,’ and then a joint starts making the rounds. The joint stays for the ‘viewer call-in’ segment which always closed the show. It’s emblematic of the off-the-rails genius of the show. Sure, the technological aspects are junk, and performances or interviews hit-or-miss, but letting uncensored live callers on the air is pure gold. O’Brien and crew are unassuming in their greatness — they’re the cool kids at school who’ll actually accept you (even though you know you’re a total geek) just because they’re self-secure — shining as they wade through call after call questioning their sexual practices and ethnicity. This stuff is not for the easily offended, but it’s a testament to the power of a slick hand willing to let the chips fall wherever.
The first 10% of this show sums up what we don’t get on TV anymore. Technical difficulties. TV Party was live and improvised, and this meant casual disaster. This early episode gets off to an artistically agonizing start–the sound person is late, overdosing on drugs or both. Or it was the broken down equipment. Once the sound kicks in the show gets lively. Compton Maddux, a droll singer songwriter, is backed up by Debbie Harry and Glenn; the unique futurist soprano Klaus Nomi does one of his post-modern arias; Adny Shernoff, of the Dictators, plays the Beach Boys’ “Be True to Your School” backed up by pom pom girls Tish and Snooky, the Manic Panic designers. Downtown legend director Eric Mitchell announces the opening of the now famous New Cinema theater and shows a clip from his film “Kidnapped” with Arto Lindsay, Duncan Smith and Anya Phillips. Brit director David Silver and photographer Kate Simon do the “white people talk about reggae” segment. Blondie’s Chris Stein and Debbie Harry and the Patti Smith Group’s Richard Sohl drop in to smoke a reefer and take calls from all the crazies in cable land. Chris explains all this isn’t chaos, it’s art.
Glitch video/GIF artist Max Capacity work pushes the grainy VHS cut-ups and early home computer bit constraints of 1980s cyberpunk into the digital realm. Network Awesome and Radosaur Productions interviewed him for Tumblr’s Storyboard effort. “Max Capacity: Net Necromancer”
We love the work of artist Max Capacity. I will venture here to say that his animated GIFs are postmodern, combining in them glitch art, pixel art, movies and stuff I cannot even start to describe. The fact that he uses the name Max Capacity is probably not a coincidence as he has a lot of work to show up for. I can spend hours jumping from his Flickr site to his Tumblr site to his YouTube channel checking out his universe of prolific creation. You have to visit Max Capacity’s sites.
Color is one of the fundamental elements of our existence, and defines our world in such deep ways that its effects are nearly imperceptible.
It intersects the worlds of art, psychology, culture, and more, creating meaning and influencing behavior every step of the way. Most fascinating are the choices we make, both subconsciously and consciously, to use color to impact each other and reflect our internal states.
Whether in the micro-sense with the choice of an article of clothing, or the macro-sense where cultures on the whole embrace color trends at the scale of decades, color is a signifier of our motives and deepest feelings.