Made for women, by women, the newly launched Adult magazine explores sexually explicit literature and photography— and asks, is it possible for porn to be fashionable and artistic?
Dads are awesome. If you have a dad, call him up. Let’s all call our dads later.
DAILY PIC: This photo of Jewish schoolchildren in the town of Mukacevo, now part of Ukraine, was taken by Roman Vishniac sometime between 1935 and 1938, when he was documenting the sorry state of the Jewish population in Eastern Europe – which was about to get so much worse. The image is now in his show at the International Center of Photography in New York. The exhibition makes clear how much Vishniak’s “simple” documentation owes to avant-garde art and photography from earlier in the century. That’s doubly clear when you look at the much straighter photojournalism by Chim that’s on view one floor up at the ICP, and that was done at precisely the same time. I have to admit that the stylishness of Vishniak’s vision helps sell me on his subjects – even though his Orthodox subjects often resisted the modernity he represents.
Like the 1930’s Russian version of Humans of New York.
DAILY PIC: This is Anne Collier’s “Veterans Day (Nudes, 1972 Appointment Calendar, The Museum of Modern Art, New York, Edward Weston)”, from the “New Photography 2012” show now at MoMA. The image gives a new take on Sherrie Levine-ish appropriation, getting at it through full-blown still life. All appropriation has its roots in still life – on the copy-stand, at least – but normally the context is cropped out. Here, the original use-context, narrowed to a particular day in MoMA’s 1972 “Nudes” calendar, is kept in view. You can imagine some museum member flipping the page on that Veterans Day and seeing Weston’s torso. To what effect, back then? And will there someday be a MoMA calendar with Collier’s calendar image in it, waiting to be borrowed yet again by some future artist? (Courtesy the artist, Anton Kern Gallery, New York; Marc Foxx Gallery, Los Angeles; and Corvi-Mora, London)