Born in 1959 in Zaragoza but living and working in Madrid, Dino Valls is one of the Spanish representatives of the vanguard of figurative art. His painting, elaborating and expanding the methods of past masters, centers on the human psyche by using figurative techniques only as a formal support in which to project a conceptual content laden with profound psychic weight, where the most obscure pulsations develop in a symbolic process of intellectualism.
After receiving his degree in medicine and surgery in 1982, he decided to devote himself exclusively to painting; the kind of painting which would be influenced by the humanistic perspective that brought about the study of man. This kind of attitude is reminiscent of the creative climate of the Renaissance. His passion for ancient painting moved him to study seriously the techniques of the great masters in the major European museums and in 1991, Valls studied the art of egg tempera and the technique of the Italian and Flemish masters of the 16th and 17th centuries. Egg tempera remains his favorite technique for painting.
Art is the only medium which allows man to unite his logical thought and his magical thought, redeeming him from the profound dichotomy which exists between both. Curiosity incites us to step out into the field of logic, raising our gaze beyond what may be recognized. This may be the point of inflection which leads us unreality in Dino Valls’ painting.
One of the privileges by those dedicated to art is that related to a special form of possession. Although a person’s desire to grasp another may never be completely fulfilled, being able to create an image the possession of which begins and ends strictly in the actual creation, is an eminently artistic prerogative, that in addition to being much more satisfactory, accompanies another aspect which is not of less importance: he concept of endopathy, according to which, in order to paint a figure, one has to become it. Just as all paintings are self-portraits, only mirrors hang on the walls, which means an extension of the relation between participation and effect upon each other by the work of art, the author and the spectator.
On the other hand, the relation between the person who looks and what is being contemplated causes archetypes to appear and ends up by establishing an active communication between the work and the receiver, as it is based on the power of projection which the unconscious causes to arise in the person looking.
The gaze discovers the painting and this reveals what we only know intuitively: the irrational. It is during our attempt to rationalize it that the conflicts arises, originating in our collective cultural unconsciousness, which scientific research continues to try to unmask.
Just as dreams disguise themselves as reality to make themselves recognizable for the consciousness, Dino Valls’ painting conceives his artistic ideas based on the artist’s interior unreality. Neither realism as naturalism, nor a fleeting personal view of the real world concern him. It is not the exterior and its objective reality that attract him, but rather the contrary. This is a search inside oneself, plunging into the warehouse of what underlies everyday experience. In his work, the painter reveals these profound conflicts, and the spectator recognized them as part of his internal struggle, as they belong to the same human essence
Alicia Guixa, Catalogue, “Dino Valls“, Madrid (December 1993)
Music/Lyrics:Lou Reed Original Album:Loaded/The Velvet Underground
“Oh! Sweet Nuthin‘” is the final song off of Loaded, the last real Velvet Underground album (1970). It tells the stories of the disaffected, the poor Jimmy Brown, the homeless and depressed Ginger Brown, his fellow street person Polly May, and poor Joanna Love who finds herself in an endless stream of failed relationships. Between that and the chorus of, “Oh, sweet nuthin’/She ain’t got nothing’ at all,” you’d think this was a miserable song, one to listen to when you’re looking for that last bit of motivation to slash your wrists. That would be the easy approach. Rather, “Oh! Sweet Nuthin‘” is incredibly life affirming, especially in the end section where drummer Doug Yule – filling in for Moe Tucker who was on maternity leave – suddenly kicks the whole jam into overdrive. The guitars soar and the drumming continues to pound and it builds until it finally resolves to a reprise of, “She ain’t got nothing at all,” which suddenly feels like a reward instead of a lament. Who says that you can’t make something out of nothing? –Mark Toscano, David Steinberg
I’m Sticking With You!
One of the first generally available Velvet Underground bootlegs was an EP released around 1976 that served up four songs cut during the bridges between the band’s second and third (“Temptation in Your Heart”) and third and fourth albums — “Foggy Notion,” “Ferryboat Bill,” and “I’m Sticking With You.” All offered very different views on the band, at a time when the plethora of studio outtakes and oddities that we know today had still to see the light of day. However, even in this company, the plaintively swinging “I’m Sticking With You” (“cos I’m made out of glue”) came as a major shock to anybody raised on the delights of “Sister Ray” and “Heroin.” A straightforward duet between Lou Reed and Maureen Tucker, “I’m Sticking With You” was as sweet and unaffected as any classic pop duo (Captain & Tennille would have killed for this song!), its lilting melody and gauchely realistic sentiments all the more touching for their simplicity. Tucker would subsequently re-record the song with Jonathan Richman; the Velvets’ own version, meanwhile, finally made its official debut on 1985’s VU compilation. –Dave Thompson
In 1972, Velvet Underground alumni Lou Reed, John Cale and Nico reunited before the cameras of the POP2 TV program at Le Bataclan (yes that very place where those terrorists killed 89 people on November 15th 2015), a well-known and very intimate, Paris venue . It was Cale’s gig originally and he invited Reed and Nico to join him. Reed, who hated rehearsing, spent two days with Cale working out what they were going to do. According to Victor Bockris’ Lou Reed biography Transformer, rock critic Richard Robinson videotaped these rehearsals, which took place in London.
Both the videotape and the audio from this show have been heavily bootlegged over the years. A legit CD release happened a few years ago, but it still sounds like a bootleg. A high quality video turned up on various torrent trackers and bootleg blogs after a rebroadcast on French TV. It’s fairly easy to find. Now if only some of the outtakes from the Le Bataclan filming (if there were any) would slip out—they did “Black Angel’s Death Song” which I’d dearly love to see—not to mention what Richard Robinson might have (There is an audio only recording of the rehearsals attributed to Robinson’s tapes already making the rounds on bootleg torrent trackers.)
This is Reed coming off his first solo record (which had not even been released yet) and just a few months before he recorded “Walk on the Wild Side” with David Bowie and took on a totally different public—and we can presume, private—persona. This is “Long Island Lou” last seen just before Reed’s druggy bisexual alter-ego showed up and took his place. Cale does the lush “Ghost Story” from his then new Vintage Violence album and Nico looks stunning and happy here singing “Femme Fatale.” It’s before the damage of her drug addiction took its toll on her looks.
One thing worth pointing out here is that during “Berlin” you can see Nico’s face as Reed sings a song which he told her was about her. She might even be hearing it for the first time.
Here’s a version (oddly in color, the only one on YouTube, the rest are all B&W) of Reed and Cale performing a languid, stoned and thoroughly unplugged “I’m Waiting For The Man”:
Hayley lives and works on a farm. Between raising free range pigs and sheep she paints huge psychedelic satirical scenes. Surrounded by big skies and farm land not many can hear the doof doof rumble from from her hay shed studio.
Recent exhibitions by Hayley include; “Rave Diggers” 2015 at The Bearded Tit, Redfern NSW; “A-holeistic Approach” 2015 at Bank Space Gallery, Surry Hills NSW; “Already Dead” 2015 at c3 Gallery Abbotsford Victoria and “Rock ‘N’ Roll Redneck” 2014 at CASPA in Castlemaine Victoria.
Questions and Answers About ”NYC Bad Boys” and a Lifetime Partnership
Introduction in Disguise
I will try to, like the Clash album says, ”Cut the Crap” and say that I heard about Victor Bockris the first time through a book called ”Conversation”, which I read avidly the first time it fell in my lap and have re-read a few times. Those Conversations were a goldmine for a Burroughs and Warhol amateur like me who believed that both of them have been to art in general what the Sex Pistols were to music. To me, ”Conversation” is an essential book that should be archived and kept for safety like a mystical artefact, exactly like Burroughs’ paranoid mind would have imagined it; like files that unknown alien forces are constantly updating, thus keeping tabs on the underworld agents. Numbered transcripts sourced and supported by audio, film, and/or photographs, describing meetings between liberating forces from one of the leading underground artistic mind and the Godfather of the surgeons of the Beat Generation, leading to a whole new way of deconstructing and re-creating different realities that were bearers of an extremely particular strain of virus calledPUNK.
I also knew, reading that book, that Victor was already working very closely with Marcia Resnick back then. I followed the timeline traced by her photos and discovered a whole new world in Resnick’s fascinating images and thoughts, starting with Re-Visions and already seeing that Punks, Poets and Provocateurs that was onlyreleased in 2015 (yes! the very day this article was posted!) already was and always has been in the making very early on after the day those two kindred spirits met for the first time. In fact Marcia began the book the same month they both met in September 1977, and finished taking the pictures in 1982. She then worked sporadically on videos of the pictures, showed some of the images in group shows through the 1980s, 1990s and 2000s. She also participated in a traveling show, which became a book, called ”Bande A Part, New York Underground 60’s-70’s-80’s’‘ which featured the photographs of many of her contemporaries. This was showcased as a ”travelling show” in venues in Tokyo, Paris, London, Hong Kong, LA and New York, from 2005 to 2009. This was a very positive sign that her work was still alive and growing. In 2010, she had a one-woman show of her vintage portraits from the 1977 to 1982 period at the Deborah Bell Photographs in NYC. It was also in 2010 Marcia and Victor began to ”physically” put the book together. The result is a shared vision of the world that is exposed through a sincere, honest, disarming, straightforward series of photos, poems, thoughts, paintings and a variety of ways and any possible means to recreate the feelings attached to those vivid memories. Each of those forever preserved time capsules humbling me, reminding me of how fragile some of us are or were, especially some of those NYC Bad Boys, but also revealing how our weaknesses are non-dissociative parts of our inner beauty.
No need to say I was delighted when I was asked to do an article about Punk, Poets and Provocateurs in an interview format. Marcia and Victor were kind enough to gently respond to some questions I had in mind after I got the chance to read and feel ”Punks, Poets & Provocateurs: NYC Bad Boys, 1977-1982” that is righteously presented here as the triumphant accomplishment of a lifetime collaboration between two artist I admire so much. I sincerely hope you enjoy it as much as I did!!
LAN: ”How did you two met?”
Victor Bockris: ”We met at an opening of a photo show at the Andrew Crispo gallery in September 1977. And spent the next six weeks talking and running around town meeting all sorts of people. I helped Marcia collect back cover quotations for “Re-Visions” and published “Why I Hate My Girlfriend” about her in High Times in 1978. Fuelled by love and hate.”
LAN: ”Do you think the term Bad Boy is as appealing to the general public as it was in the 60s and the 70s? Has anything changed?”
Victor Bockris: ”Bad Boys is a generic term which has lost most of its meaning. That’s why we changed the title from Bad Boys to “Punks, Poets and Provocateurs” which had previously been her sub-title. Although Marcia does a good job defining the Counterculture’s Bad Boy Icon in her outstanding texts. ”
LAN: ”Do you see some of them as angels with broken wings?”
Marcia Resnick: ”I see Bad Boys as rebels of attitudes and codes who often shake things up in the best way.”
LAN: ”Do you still find inspiration in your old friendships and acquaintances? You must have developed special everlasting relationships with some people!”
Marcia Resnick: ”We know the people we used to hang out with and love and support them. We are always overjoyed to see them, like veterans of a war. We definitely find inspiration in all our living and departed friends.”
LAN: ”It’s a well-known cliché to say that most good artists have suffered a lot, and somehow channeled this suffering and/or anxiety through their art. Do you consider you went through that too?”
Marcia Resnick: ”Art is an act of confronting what distresses you most and overcoming the distress by turning it into art.”
LAN: ”Has it ever happened to you that on the moment something appeared to be a bad thing, but you later came to realise it was in fact a good thing?”
Marcia Resnick: ”Contradiction is one basis of creativity. Challenges that appear to be bad are often very good for you. This can also be said about artistic mistakes.”
LAN: ”Do you consider yourselves more as Poets, Punks or Provocateurs or none of the above? If none of the above, how do you consider yourselves if you had to pick one or few words?”
Both: ”Punk Poet!”
LAN: ”What do you think Burroughs and Ginsberg (and by extension the Beat Generation) brought to the punk scene? Do you think they fit into that equation?”
Victor Bockris: ”The punk scene shone a light of affection and affiliation on the Beat scene. Allen and Bill lived in the midst of a punk neighbourhood, the Lower East Side. Punk was neo-beat.
LAN: ”What about The Velvet Underground?”
Victor Bockris: ”The Velvets were the archetypal punk band. Lou Reed was the most important person who visited CBGB’s. He supported punk from the outset. Punks loved Lou.”
LAN: ”Punk was about industry, not virtuosity.” Could you expand on what you meant by that?”
Victor Bockris: ”Punks worked very hard to make beautiful music. This industry was inspired by passion and could be accomplished with a DIY attitude as opposed to a stringent technically proficient prowess.”
LAN: ”With everything that is going right now and the overall empowerment of the world by the 1%, do you think that we would need to return back to the sources with a very simple, bold, loud, clear and shall I say even aggressive message that was the very essence of Punk Rock?”
Victor Bockris: ”I think we need to bring back the counterculture as a global force for humanity.”
LAN: ”Do you find that everything is more diluted today? Do you think that the messages delivered by today’s artists are as strong today as they were in the 60s and the 70s?”
Victor Bockris: ”Artists of the 50s 60s 70s were all connected by the umbrella of protest against the atrocities of WWII. Passionate realism is the key. Post 83 or so the people have no single ring to fight against.”
LAN: ”Do you think sex should be a hidden thing or more out in the open like in Japan? I’m asking because you represent both sexes and have lived as adults in a period Pre-AIDS and without shame but you also know what shame is… You also lived in an era in which homosexuality and transexuality were illegal. I’m thinking for example of Candy Darling, and Lou Reed who received I think 19 (if not more) shock treatments just because he had gay THOUGHTS.”
Marcia Resnick: ”Sex is like God. It’s the greatest thing that ever happened but its been co-opted by same people who say God is on our side. Nobody owns sex but a lot of people exploit it, like the Catholic Church or the Sex Industry. Obviously do what thou wilt is all of the law. Everything is permitted. Sex is good. No laws against sex are recognized in the magic universe.”
LAN: ”If you could talk to the young ”you(s)” when you were 15, what would you say to yourself?”
Marcia Resnick: ”Focus on learning how to live the artistic ways of life. It has great benefits but if you don’t know how to live it doesn’t make much difference”
LAN: ”Do you consider yourself a survivor? If so, what or who made you able to overcome what could have been your downfall?”
Marcia Resnick: ”Collaboration. We have helped each other survive by working to a united end on this book.”
LAN: ”The 1977 Blackout in New-York was seen as a turning point by many people because they were seeing judges and doctors turning into looters in the anonymity provided by the dark. Were you there? If yes did it have any effect on you at the time?”
Marcia Resnick: ”Sounds like a fantasy! The July 77 NY Blackout heralded a great new period because everybody walking around in Greenwich Village was exhilarated to see each other and was full of joy! People were conversing with people they didn’t know!”
LAN: ”What beauty have you ever witnessed coming out of what some would describe as a wreckage?
Marcia Resnick: ”Andy Warhol, Keith Richard. Lou Reed, William Burroughs for starters.”
LAN: ”This one I guess goes out more to Victor. Since Warhol himself was always taping and taking pictures, did you feel at times that you were interviewing the interviewer??”
Victor Bockris: ”I learned about how to do interviews from Andy Warhol. I cannot understand why a book of his interviews has never been published. I wrote the first draft of “Exposures” with him. He had an enormous influence as a writer which has been strangely subdued.”
LAN: ”Since we are talking about Warhol, I was curious to find out if you saw a change in Warhol after he was shot by Solanas?”
Victor Bockris: ”Everybody says that his presence was everything before he was shot. It took him a long time to recover, but the man I met in the mid seventies had more energy than anyone. It made him cautious about hanging out with hard-core people. He really bloomed in the early 80s painting with Jean-Michel (Basquiat).”
LAN: ”Have you ever been personally the victim of a blatant injustice?”
Victor Bockris: ”No. I avoid policemen and lawyers. It is dangerous to get involved with them.”
LAN: ”Any words of advice for the generations to come?”
Marcia Resnick: ”Collaboration is the Key to Life. You can go into any field you want to, from poetry to the law, but your chance of success will always be much greater if you find other people or another person to do it with.”
”Punks, Poets & Provocateurs: NYC Bad Boys, 1977-1982” by Marcia Resnick and Victor Bockris is now available in the nearest bookstore!!
Book signing with Photographer Marcia Resnick Punks, Poets and Provocateurs: New York City Bad Boys, 1977–1982 by Marcia Resnick and Victor Bockris Published by Insight Editions Tuesday, November 10, 2015 6:30–8:30 PM / Admission free! Click on picture below for a lot more infos on related events to come!
ANDY WARHOL SHOOTS THE VELVET UNDERGROUND LIVE IN COLOR, BOSTON, 1967
Last week I recovered video of the Velvet Underground performing live in Boston in 1967. This would be notable on its own, being one of only two known films with synchronous sound of the band performing live also happens to be the only one that was shot in color, but what makes it really significant is that this was filmed by Andy Warhol himself.
Early promo posters referred to the show as the “Erupting Plastic Inevitable”. This soon changed to “The Exploding Plastic Inevitable”. This clip Warhol shot features a variety of filmmaking techniques. Sudden in-and-out zooms, sweeping panning shots, in-camera edits that create single frame images and bursts of light like paparazzi flash bulbs going off mirror the kinesthetic experience of the Exploding Plastic Inevitable, with its colorful slide shows, multi-screen projections of 16 mm film projections, combined with a stroboscopic-light show designed by Danny Williams (because of the punishing lights, the band took to wearing sunglasses onstage), whip dancers, liberal use of amphetamines, and overpowering sound.
The Boston Tea Party was a concert venue located at 53 Berkeley Street (later relocated to 15 Lansdowne Street in the former site of competitor, the Ark) in the South End neighborhood of Boston, Massachusetts. It operated from 1967 to early 1971. Its closing was due in part to the increasing cost of hiring bands who were playing more and more at large outdoor festivals and arena rock concerts. The venue became associated with the psychedelic movement, being similar in this way to other contemporary rock halls such as New York‘sFillmore East and Electric Circus, San Francisco‘s Fillmore West, and Philadelphia‘s Electric Factory.
The Velvet Underground, not widely known or appreciated in their own time, played regularly to a packed house at the Boston Tea Party.According to the club’s former manager, Steve Nelson, “People in Boston just adopted them, and that ranges from Harvard graduate students to tough kids from the neighborhood…and that really was the start of their, I guess we could call it a residency.”
“This is our favorite place to play in the whole country.”—Lou Reed, December 12, 1968
The quality is poor, but snatches of classics like “Run Run Run” and “Guess I’m Falling In Love” can be made out in the first half of the video. The second half of the half-hour clip is filled by a complete performance of the immortal “Sister Ray.” This is an amazing historical and artistic document from the year the The Velvet Underground & Nico came out. Watch the extremely rare moment in musical history below.
On June 13, 1978, Garage punk band The Crampsgave a free concert at the California State Mental Hospital in Napa. It is, simply put, one of the single greatest rock and roll experiments ever captured on videotape (in this case, on a half-inch open reel Sony Portapak by Joe Rees and his Target Video outfit). Also on the bill wereThe Mutants from San Francisco. One hundred years from now I hope this video will be not considered so outraging and that people who have mental health problems will no longer be ostracized from the rest of society. This was done with utmost respect to the patients, hope you watch it with that respectful point of view too.
Artists Iain Forsyth and Jane Pollard meticulously recreated this event (and the video itself) as an elaborate art project at the ICA in London in 2003. Forsyth and Pollard’s “Cramps” also performed in front of an audience comprised of psychiatric patients in their “File Under Sacred Music” re-staging of the infamous 1978 gig.
Notorious in his native Japan for his challenging, emotionally raw images and explicit depictions of sexuality and mortality, Nobuyoshi Arakihas courted controversy for the last five decades.
Simultaneously erotic and historical, Araki reflects Japan’s unique combination of strict tradition and constant innovation. His fascination with Tokyo is manifest in his work, delving into the traditions, riotous nightlife and impish child’s play of this fluctuating metropolis, alongside intimate, impromptu and candid moments with the photographer, his compatriots and his egotistical ‘genius’ alter-ego. Araki’s lustrous portraits of friends and lovers employ highly stylised compositions, vibrant colours, and the plastic toys of our disposable society to reference the overt commercialism of Japanese society.
Araki’s most notable contribution to the photography canon is his pioneering conception of ‘i-photography’, an autobiographical but fictive account of life and death through his images. In Sentimental Journey and later in Winter JourneyAraki documented both the intimate and the mundane from his honeymoon and his wife’s terminal battle with cancer. By blurring the boundaries between life and art Araki’s work becomes uncomfortably candid, presenting death with a reverence as shocking and graphic as any of his more erotic material.
Born in Santa Monica, California, Lynette Alice Fromme grew up in Westchester, California where her father William worked as an aeronautical engineer. Lyn was the first of 3 children, was a talented, well-liked child that toured throughout the United States and Canada in a song and dance troop called the Lariats. In Junior High School Lynette was active with many after school activities. She was a member of the Athenian Honor Societyas well as the Girls Athletic Club. In her drama class Lyn befriended a young Phil Hartman, who eventually gained fame on shows like Saturday Night Live, The Simpsons, & Newsradio. When her class gave out superlatives, Lynette was voted “Personality Plus”.
As Lyn grew older, the relationship between her and her father grew apart. Neighbors remembered William Fromme as a tyrant-like figure, who seemed to punish Lyn for little or nothing at all. In High School, Lynette became more rebellious, using drugs and alcohol. She worked in a Canvas shop where coworkers would see Lyn burn herself with lit cigarettes, and shoot staples into her forearm with a staple gun. She briefly dated Bill Siddons, who went on to be the road manager of The Doors. However, Siddons’ mother felt that Lyn was disturbed, and talked Bill into steering clear of her. After High School, Lynette bounced around, living with different people. She eventually moved back home and enrolled at El Camino Junior College. It wasn’t long before Lyn and her father were fighting again.
The two got into a fight over a definition of a word, and it was the last straw for Lynette; again, she hit the road. It was at this time, that Lyn met Charles Manson on Venice Beach. Impressed by Manson, she quickly decided to leave Los Angeles to travel with Charlie and Mary Brunner Lynette had a special spot in the family; according to Paul Watkins, no one but Charlie was allowed to sleep with Lyn. At Spahn’s Ranch, Fromme spent most of her time taking care of the 80 year-old blind owner, George Spahn. Lynette would make squeak-like noises when George ran his hands up her legs, so he dubbed her “Squeaky.” Lynette was arrested with the family in both the Spahn and Barker Ranch raids. During the Tate-La Bianca murder trial Lyn was frequently arrested. The charges ranged from contempt of court, loitering, trespassing on county property, to attempted murder, for a LSD lanced hamburger given to Barbara Hoyt in Hawaii.
After Manson was convicted, Squeaky moved to San Francisco to be closer to San Quentin. She maintained contact with defense attorney Paul Fitzgerald, and family members in and out of jail. However, prison officials were uncomfortable about her and wouldn’t permit her to see Charlie. When Lyn wasn’t petitioning to see Manson, she began writing a book about the family. In September of 1972, Lynette was arrested in connection with the murders of James and Reni Willet. Authorities soon found she wasn’t involved with the murders, however they were reluctant to let her go. Finally on January 2nd 1973, all charges against Lyn were dropped, and she was released the following day. On her release Lynette was immediately arrested by LAPD. She had been accused of robbing a 7-11 convenience store in October of 1972. At the trial Lyn’s accuser, a 17 year-old 7-11 employee, admitted that the robber didn’t have the “X” scar on her forehead. Once again the charges weren’t dropped until another woman was arrested and confessed to the crime. Freedom was bittersweet for Lyn, the Family was falling apart. Mary, Gypsy, Katie, Leslie, and Sadie all wanted nothing to do with Manson.
Later that year, Lynette moved to Sacramento with Sandra Good. The reason for the move was once again to be closer to Manson; Charlie had been moved from San Quentin to Folsom Prison. While walking in a park Fromme befriended a 64 year-old man named Harold “Manny” Boro. According to Boro’s daughter-in-law, the two were lovers. In Sacramento, Lyn and Sandy became more preoccupied with saving the environment. It was around this time that Charlie started to talk about the Order of the Rainbow, his own religion in which Lyn and Sandy would be nuns of. Each of the Manson girls was given a color; Lynette was dubbed “Red” and was given the duty of saving the Redwoods. Their Lifestyles would be very different compared to the Spahn’s Ranch days. The girls weren’t allowed to smoke, have sex, or watch “movies with violence that sets thoughts to death and confusion.” From their P Street apartment, Lyn and Sandy started the International People’s Court of Retribution; a fictitious terrorist group that would assassinate executives and CEO’s of companies that polluted the earth. The two sent out hundreds of threatening letters that claimed that there were thousands of members of the terrorist group just waiting to kill.
While trying to get the local news to report the damage being done to the Redwoods from logging, Lyn was informed that the President of the United States was coming to town. On September 5, 1975, Lynette headed down to Capital Park with a loaded Colt .45 automatic pistol (borrowed from Manny Boro) strapped to her leg. When President Gerald Ford came walking down the path, Lynette pulled out her gun. Immediately Secret Service Agents wrestled Lyn to the ground, and the President escaped untouched. At her trial, Lynette followed Charlie’s example and chose to represent herself. However, her presence in the courtroom was short-lived. When Lyn lectured about the Redwoods and her other environmental concerns, Judge Thomas McBride instructed Lyn to stick to things relevant to her case. As Lyn continued to talk about whales and pollution, McBride had her removed from the courtroom. Squeaky was returned to her jail cell, where she spent most of the trial, watching from closed circuit television. Later on in the case, and nearly costing a mistrial, it was discovered that U.S. Attorney Dwayne Keyes had failed to turn over some exculpatory evidence. In late November of 1975, a jury convicted Lynette of Attempted Assassination of the President of the United States of America. Upon sentencing, an angry Lynette threw an apple at Dwayne Keyes’ head, after which Squeaky was sentenced to Life. Squeaky was sent away to the Alderson Federal Corrections Institute in West Virginia. She was eventually reconnected with fellow family member Sandy Good, after she was transferred to a new prison in Pleasanton, California, where Good was serving time for sending threatening letters.
In March of 1979, Lynette attacked a Croatian Nationalist named Julienne Busic, imprisoned from her connection in a 1976 airline hijacking. Squeaky hit Busic in the head with the claw end of a hammer, got 15 months added to her sentence, and was sent back to Alderson. On December 23, 1987, Lyn got word that Charlie was dying of cancer, and escaped from Alderson. She was picked up 2 days later having traveled only a few miles. Squeaky then bounced around the prison system: from Lexington, Kentucky, to Marianna, Florida, and finally to the Federal Medical Center Carswell, near Fort Worth, Texas where she remained until her release on August 16, 2009.
Drama documentary featuring input from Linda Kasabian, Catherine Share & Vincent Bugliosi. It covers the murders of Gary Hinmen and the Tate-LaBianca slayings. I do not hold the copyright to this documentary. It is to my personal taste the best made documentary about it. Blunt, true, visceral. Until then, Kasabian was still in hiding and still afraid because she was receiving threats by supporters of the Manson family. The very thing you can be resented more than to be a child killer (if possible!) is being a snitch in the underworld where she resentfully takes us.
To judge by price at auction and in galleries, and its popularity through museum exhibits, books and photo fairs, fine art photography is now in the lofty realms of well, fine art. Granted these aren’t grandma’s snapshots of birthdays and vacation landscapes, but rather images from classicists like Diane Arbus, Jacques Henri Lartigue and Weegee who capture moments, people and places with both their eyes and techniques; outsiders like Miroslav Tichywho organically created his voyeuristic single print photographs with cameras made from discarded objects he discovered on the Czech streets like cans, boxes and eyeglasses, decorating with doodles the resulting work which originally created was only for himself; and Andreas Gursky who are redefining the genre through use of stitching, pixilation and other digital manipulation. Wayne Martin Belger‘s photographs and intricate, one-of-kind, hand-built cameras — themselves works of art, often set with gemstones and talismans; crafted with human organs and skulls, blood, bones and blood — boldly combine both the ancient and post-modern, using a viewing method that can be traced as far back as China in the 5th century B.C., to Aristotle, Euclid, and later Ibn al-Haytham (Alhazen) who refined the technique in his the 10th Century Book of Optics, before emerging as in 1850 as photographic device. The process begins with Belger first desiring to explore and relate to a concept and envisioning the photographs, then crafting a camera as the portal into the subject. He collects artifacts, relics and metals, and painstakingly builds the device with parts he carefully machines, the construction itself a form of meditation on and communion with the concepts and images, much like icon painters who first pray and meditate, then carefully prepare the surface, blend the tempera and delicately layer the colors. Using 4×5 film and existing light, Belger can spend anywhere from 10 seconds to 90 minutes with the pinhole aperture open to capture a single shot in the camera designed specifically for a series, with the goal “to be the sacred bridge of a communion offering between myself and the subject. All to witness and be a tool of the horrors of creation and the beauty of decay presented by the author of light and time.” To compare and contrast, 35mm movie film runs 24 frames per second, while high-speed digital still cameras can shoot 60 frames per second. With the emulsion film exposed for extended periods, Belger’s photographs become movies distilled onto a single frame. Photons from the stationary object of focus, as well as moving objects in the field, are absorbed onto the emulsion, creating softened, at times ghost-like, images.
Belger:With pinhole photography, the same air that touches my subject can pass through the pinhole and touch the photo emulsion on the film. There’s no barrier between the two. There are no lenses changing and manipulating light. There are no chips converting light to binary code. With pinhole what you get is an unmanipulated true representation of a segment of light and time, a pure reflection of what is at that moment.
Belger: The tools I create and work with are pinhole cameras. With pinhole photography, the same air that touches my subject can pass through the pinhole and touch the photo emulsion on the film. There’s no barrier between the two. There are no lenses changing and manipulating light. There are no chips converting light to binary code. With pinhole what you get is an unmanipulated true representation of a segment of light and time, a pure reflection of what is at that moment. With some exposure times getting close to 2 hours, it’s an unsegmented movie from a movie camera with only one frame.The creation of a camera comes from my desire to relate to a subject. When I choose a subject I spend time studying it. Then I start visualizing how I would like a photo of the subject to look. When that’s figured out, I start on the camera stage of the project by collecting parts, artifacts and relics that relate to the subject. When I’ve gathered enough parts and feel for the subject, I start the construction of the camera. I create the cameras from Aluminum, Titanium, Copper, Brass, Bronze, Steel, Silver, Gold, Wood, Acrylic, Glass, Horn, Ivory, Bone, Human Bone, Human Skulls, Human Organs, Formaldehyde, HIV+ Blood and relics all designed to be the sacred bridge of a communion offering between myself and the subject. All to witness and be a tool of the horrors of creation and the beauty of decay presented by the author light and time.
The Third Eye Camera:
Astonishing results: Can you see some weird ghostly face formed in the Third Eye Camera ”bright chamber”? Creepy? Maybe. That’s a very narrow minded way to see the whole concept. I bet that this ghostly face alone by itself was worth all the efforts that putting that camera together required. This little girl is going to be able to see images in her own skull again. Maybe it was her way of saying Hello!! and THANK YOU!!! The concept of this camera and the images it produces are to my humble opinion so out of this world!! I bet William Gibson and especially Burroughs would have loved this shit!!!!
Yama (Tibetan Skull Camera)
Designed for the study of exodus and for the research of modern incarnations of historical iconic figures. “Yama,” the Tibetan God of Death. In Tibetan Buddhism, Yama will see all of life and Karma is the “judge” that keeps the balance. The skull was blessed by a Tibetan Lama for its current journey and I’m working with a Tibetan legal organization that is sending me to the refugee cities in India.is carefully crafted from the 500-year-old skull of a Tibetan monk and retro-fitted with copper, aluminum and brass camera pieces machined by Belger, who painstakingly placed the camera’s dual pinholes in the exact position of the pupils. The camera’s internal mechanism is split, producing two exact images that when printed and viewed at a distance become three-dimensional. The skull is set with sterling silver and gems including several large rubies over the pineal gland/third eye, plus sapphires, opals, and turquoise. It rests in a large gilt-edged mirrored box, reminiscent of a memento mori, fittingly as Yama is the Tibetan god of death. The box sits atop a silk prayer cloth on a wooden table; below, a plumb/pendulum of brass filled with artist’s blood and mercury swings over a container of pearls and sand, a stunning installation that unites and transcends the concepts of form and function. This all might sound a bit morbid, but Yama’s countenance smiles knowingly, cheerily from his glass box, eager to be readied for his work. Or simply to be admired. Yama’s eyes are cast from bronze and silver with a brass pinhole in each. A divider runs down the middle of the skull creating two separate cameras. A finished contact print mounted on copper is inserted in to the back of the camera to view what Yama saw in 3D. Yama is made from Aluminium, Titanium, Copper, Brass, Bronze Steel, Silver, Gold, Mercury with 4 Sapphires, 3 Rubies (The one at Yama’s third eye was $5000.00), Asian and American Turquoise, Sand, Blood, and 9 Opals inlayed in the Skull. The film loading system is pneumatic. A 360 psi air tank in the middle of the camera powers 2 pneumatic pistons to move the film holder forward and lock it into place. The switch to open and close the film chamber is located under the jaw. Designed for two photo series. First series is of my interpretation of the modern incarnation of Southeast Asians deities. Second will take place in the Tibetan refugee cities of India, a home-coming through the eyes of a 500-year-old Tibetan. Picture taken:
Untouchable (HIV Camera)
Designed to study and photograph a geographic comparison of people suffering from HIV. For “Blood Works” his exploration and study of HIV/AIDS, Belger created the “Untouchable (HIV),” camera using aluminum, copper, titanium and acrylic. HIV+ blood from one of Belger’s friends-the blood is treated with heparin sulfate to prevent coagulation-pumps through the camera then in front of the pinhole, becoming a #25 red filter. For shooting with “Untouchable,” Belger holds opens calls, and has captured a wide range of HIV+ people across the United States, with plans to photograph HIV+/AIDS subjects throughout Africa this upcoming spring in advance of his participation in a December 2012 group show at the Royal Ontario Museum, which will also include his Third Eye, Yama and Heart cameras and the photos they produce. The show also features works from Joel Peter Witkin, Steven Gregory, Marc Quinn (whose models include Buck Angel and whose sculpture “Alison Lapper Pregnant” was installed in Trafalgar Square), Robert Krasnow, WhiteFeather, Francois Robert, Weiki Somers, Charles LeDray, Rosamond Purcell and Mark Prent. Belger produces a limited number of prints, usually fewer than 10 of each shot. Collectors of the unique, intricate devices receive one of each print along with the camera that created them, with the agreement that Belger can borrow back the camera to continue the series. In exchange they receive a copy of each new print. Other aficionados collect only the ethereal images. 4″x5″ camera made from Aluminium, Copper, Titanium, Acrylic and HIV positive blood. The blood pumps through the camera then in front of the pinhole and becomes my #25 red filter. Designed to shoot a geographic comparison of people suffering from HIV.
Yemaya (Underwater Camera)
Now I am aware that the concept on this one might seem less ”original” and I realise it,s far from being the first underwater camera but I still chose to show that one simply for the love of bold surreal chromed, sorta Captain Nemo look of this camera and reminds me of how great are the capabilities of Wayne Martin Belger not ONLY as an artist, but also as a crafty camera builder technician. This camera is as functional as it is truly magnificent.
Last but not least… This project documents mothers who are at least eight months pregnant. The 4×5 pinhole camera created for the project contains the heart of a child who died at birth. The heart, donated by a gallery owner who found it among a collection of old anatomy equipment, is preserved in a sealed compartment at the rear of the camera. Despite its chilling reminder of the risks of childbirth, Belger says he was surprised by how well the mothers took to the Heart camera. Word about his project spread fast, with expecting mothers now contacting the photographer to set a date. So far Belger has photographed portraits of 30 women so far. He’s even been invited to photograph women giving birth. Belger is able to capture only one frame, about a ten-minute exposure, and begins to expose the film just before his subject gives birth.
Some Photos Taken with The Heart Camera:
Belger’s beautiful machines and the photographs he produces with them are stunning, surreal, yet incredibly grounded and visceral expressions of the artist’s and subjects’ place in time and light, and our brief time and place on earth.
On December 5, 1970, The Stooges played a show at Michigan’s Farmington High School. That’s Zeke Zettner on bass, James Williamson AND Ron Asheton on guitar as well as Scott Asheton on drums. Jim Edwards (lead singer of Detroit band The Rockets) saw these pictures taken at the gig and immediately shared them on his facebook page! Here they are now posted on Loud Alien Noize for your pleasure only!
During his later years in Kansas, Burroughs developed a painting technique whereby he created abstract compositions by placing spray paint cans in front of, and some distance from, blank canvasses, and then shooting at the paint cans with a shotgun. These splattered canvasses were exposed in various Galleries during the early 1990s.
In an interview with Gregory Ego, entitled “William Burroughs & the Flicker Machine”, as published in David Kerekes’ 2003 “Headpress (the journal of sex religion death)”, William explains how he made shotgun art painting, and others. Here’s a portion of this interview:
EGO: Are you still doing your “shotgun art?”
BURROUGHS: Oh, all kinds. Brushwork. Shotgun. Paint. Knife.
EGO: What exact process do you use for your visual art?
BURROUGHS: There is no exact process. If you want to do shotgun art, you take a piece of plywood, put a can of spray paint in front of it, and shoot it with a shotgun or high powered rifle. The paint’s under high pressure so it explodes! Throws the can 300 feed. The paint sprays in exploding color across your surface. You can have as many colors as you want. Turn it around, do it sideways, and have one color coming in from this side and this side. Of course, they hit. Mix in all kinds of unpredictable patterns. This is related to Pollock’s drip canvases, although this is a rather more basically random process, there’s no possibility of predicting what patterns you’re going to get. I’ve had some I’ve worked over for months. Get the original after the explosions and work it over with brushes and spray paints and silhouettes until I’m satisfied. So, there isn’t any set procedure. Sometimes you get it right there and you don’t touch it. The most important thing in painting is to know when to stop, when everything is finished. Doesn’t mean anything in writing.
EGO: It does rely to a high degree on chance — the shotgun art?
BURROUGHS: It introduces a random factor, certainly.
EGO: Just like the cut-up method.
BURROUGHS: Yes. But you don’t have to use it all, you can use that as background. There’re a lot of other randomizing procedures like “marbling.” Take water and spray your paint on top of the water and then put your paper or whatever in the water and pull it out and it sticks in all sorts of random patterns. And then there’s the old inkblot. [Ruffles imaginary paper] Like that. Sometimes they’re good only as background or sometimes you get a picture that you’re satisfied with at once. There is no certain procedure.
EGO: Allen Ginsberg proposed to me that the cut-up technique you developed with Brion Gysin is a sort of counter-brainwashing technique. Do you agree with that?
BURROUGHS: It has that aspect in that you’re breaking down the word, you’re creating new words. Right as soon as you start cutting, you’re getting new words, new combinations of words. Yes, it has that aspect, sure. But remember that all this brainwashing and propaganda, etc., is not by any means expected to reach any intelligent corners. It isn’t expected to convince anybody that has any sense. If they can get ten percent, that’s good. That’s the aim of propaganda; to get ten percent. They’re not trying to convince people that have a grain of sense.
“I loved this place, its shabby elegance, and the history it held so possessively” ~ Patti Smith
Living in the Chelsea Hotel by Linda Troeller is a pictorial and written history of the Chelsea Hotel featuring the last few decades. Troeller is a renowned photographer and her art appears in several collections including the Smithsonian. She has an MFA from School of Art, and an MS Newhouse, Syracuse University and a BS from Reed School of Media, West Virginia University. Previously, she was an assistant at the Ansel Adams Workshops. Troeller has taught at SVA, Parsons, NY, University of Nevada, Las Vegas, Indiana University, and Stockton University.
The Chelsea Hotel is one of those almost mythical places like CBGBs that many of us heard about growing up in the 1970s. It was the darker, seedy, punk rock part of music and art. NY had that rough, tough image and the…
I too have read ”Just Kids” by Patti Smith, which is an homage to her lover, friend, fellow artist Robert Mapplethorpe as well as her own personal bio and I’m looking forward to read this one. TY ”Motorcycle Boy”!! ;)
M-Train by Patti Smith is a collection of stories by the poet laureate of punk rock. Patricia Lee “Patti” Smith is an American singer-songwriter, poet and visual artist who became a highly influential component of the New York City punk rock movement with her 1975 debut album Horses.
To be honest, I have been a Patti Smith fan since 1978. I have all her albums, seen her in concert, and own several of her books including number 86 of 100 of WIIT. I was really surprised at how well received and the broad appeal of Just Kids and I was interested in seeing how well M-Train would fare.
I waited a while to start this book wanting to hold on to the idea of a new Patti Smith book before risking disappointment. I saw one review that talked about coffee and mentioned the word was mentioned forty-seven times. Actually it…
The season of giving is nearing, and I’m a giver, can’t help it. So I thought I could give out an award weekly. :) This award is to recognize those blogs out there! :D I think you guys are amazing at what you do. :)