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  • London designer intends to make clothes with the lab-grown skin of the late Alexander McQueen
    03:11 pm



    When the fashion designer Alexander McQueen sewed locks of his hair into his 1992 show “Jack the Ripper Stalks His Victims,” it probably never crossed his mind that he was giving some scientifically oriented person in the future a way to generate human tissue with his own genetic material.

    But the year is now 2016, and that’s exactly what student Tina Gorjanc is doing—and she’s doing it, remarkably, as a way of emulating McQueen himself, by making clothes out of skin grown from McQueen’s DNA.

    McQueen, one of the most arresting and experimental fashion designers of our time, committed suicide in 2010; the next year, Savage Beauty, a retrospective of his creations at the Metropolitan Museum of Art curated by Andrew Bolton, was by far the most talked about show of 2011, causing patrons to wait for hours in lengthy lines stretching around the block.

    As part of her “Pure Human” project, Gorjanc, a student at London’s Central Saint Martins art school, is sourcing the iconic designer’s DNA from the locks of his own hair that were incorporated into his first collection inspired by Jack the Ripper. She has already filed a patent on it after convincing the owner of the collection to give her some of McQueen’s genetic material.

    We’re still a ways away from actual objects made out of skin with McQueen’s DNA. Gorjanc’s designs at Central Saint Martins’ end-of-year show were speculative designs using pig skin offcuts, chosen for their resemblance to human skin, and with layers of colour and silicon applied to the surface of the leather to enhance the similarity.

    However, the plan is for Gorjanc harvesting McQueen’s DNA into skin tissue, which will then be tanned and turned into human leather.

    Gorjanc gave the following comment to Dezeen Magazine:

    The Pure Human project was designed as a critical design project that aims to address shortcomings concerning the protection of biological information and move the debate forward using current legal structures. ... If a student like me was able to patent a material extracted from Alexander McQueen’s biological information as there was no legislation to stop me, we can only imagine what big corporations with bigger funding are going to be capable of doing in the future.

    Hey, it might be creepy, but at least she didn’t resort to the collection methods used by fashion desinger Jame Gumb in Thomas Harris’ novel The Silence of the Lambs......


    Much more after the jump…....

    Posted by Martin Schneider | Leave a comment
    ‘Stick ‘n’ poke’ prison tattoos go mainstream
    02:38 pm



    Stick n' poke flash sheet
    There’s a trend that’s only been getting bigger recently in the tattoo community…. stick ‘n’ pokes. What started out as a jail tattoo (or a kitchen hobby) needing only a pen, needle, ink, bottle cap and a steady hand has turned into something tattoo parlors now offer. And it can be pretty expensive. They charge hourly, of course, and really intricate stick ‘n’ poke work can take a very long time. Or you can get your drunkass friend to do it one convivial late night and end up with something that could be…. well… less than impressive.

    Stick ‘n’ pokes seem to be tied up with the more DIY elements of the punk rock community. There is a scene in Penelope Spheeris’ The Decline of Western Civilization where X and friends are seen hanging out in their living room and John Doe is giving a friend, Top Jimmy, a stick ‘n’ poke. In fact, the whole scene is a late night post X show stick n’ poke party.
    John Doe Stick n' poke
    Intrigued by this tie in of stick ‘n’ pokes and punk music, I reached out to Marissa Paternoster of Screaming Females, someone who has a reputation for stick ‘n’ poking:

    Marissa says:

    “Stick ‘n’ pokes often come along with a fun story. Tattoos done in a proper studio can come along with a good story as well, but from what I’ve experienced, a DIY tattoo is often born from chaos. I love that sort of abandon, but as I’ve grown older, I’ve come to realize that drunkenly marking someone’s flesh isn’t something I’m so keen on doing.”

    As far as learning how to tattoo, she says:

    “An artist and musician who goes by the name Ben Snakepit taught me how to give myself a tattoo while Screaming Females was on tour in Austin in 2008. I must have been twenty years old at the time. Ben is well known for an autobiographical comic he makes called Snakepit.”

    Screaming Females
    Marissa tattooing her bassist, King Mike’s leg while their drummer sleeps on a couch.
    Now stick ‘n’ poke parties are becoming trendy. Here’s a flyer for an event that included free stick ‘n’ poke tattoos, music, live painting and drinks. Mainstream culture seems to be celebrating the idea of these simple little lowly tattoos. Get your 10-year-old sister to draw you something, it will be the perfect kitchen tattoo.
    Tattoo party flyer
    And yet stick ‘n’ pokes can truly be art. Certain tattoo artists have mastered stick ‘n’ pokes as simply another option at the local tat shop. Jenna Bouma aka Slowerblack is one such artist who does amazing work. You would never know her tattoos are hand-poked.
    More stick’n’ poke tattoos after the jump…

    Posted by Izzi Krombholz | Leave a comment
    From Russia with drugs: The twisted erotic surrealism of Dmitry Vorsin
    02:27 pm



    A creation of artist Dmitry Vorsin.
    According to Australian art collective beinArt the Surrealist responsible for the provacative Dali-esque creations in this post is Russian artist Dmitry Vorsin—a 36-year-old based in Moscow.

    Though Vorsin originally set his sights on studying ecology when he enrolled in college he decided instead to pursue art—a passion that began when he was a child. The self-taught Vorsin uses ink, pencils and watercolors to weave his distorted figures that contain elements and images inspired by Renaissance-era paintings. Vorsin’s work was included in a fantastic looking book put out by beinArt in 2011 Metamorphosis: Volume 2: 50 Contemporary Surreal, Fantastic and Visionary Artists along with other modern masters of the surreal such as Shawn Barber, Travis Louie, Paul Booth and Swiss surrealist, the late, great HR Giger.

    If you are digging on Dmitry like I am, I highly recommend you keep up with the prolific artist over on his Facebook page. A selection of Dmitry Vorsin’s avant-garde creations follow. Many are delightfully NSFW.


    More after the jump…

    Posted by Cherrybomb | Leave a comment
    ‘The Kate Inside’: New book has never-seen photos of Kate Bush
    01:20 pm



    Filming “Rubberband Girl” on the set of “The Line, the Cross, & the Curve,” 1993
    Photographer Guido Harari, who has a book of Tom Waits photographs to his credit, worked closely with Kate Bush in a strongly creative period stretching from 1982 to 1993, during which Bush released The Dreaming, Hounds of Love, and The Sensual World, among others, as well as her musical short film The Line, the Cross, and the Curve, an offshoot of her 1993 album The Red Shoes.

    Harari has a new book coming out with dozens of never-before-seen pictures of the noted experimental pop singer, who is arguably England’s unparalleled Brontë interpreter.

    Roughly 300 pictures are in the book, the bulk of which came out of official press photo sessions for Bush’s albums of that era. Many of the photos feature Bush hard at work with Lindsay Kemp, the choreographer who worked closely with the singer from the very start of her career.

    The majority of the photos have never been published in any form, a group that includes test Polaroids, contact sheets, film outtakes, and personal notes from Bush.

    The book is called The Kate Inside (obviously a reference to Bush’s 1978 debut album The Kick Inside) and is expected to become available in September. You can pre-order it from Wall of Sound. The regular edition is priced at 90 Euros (about $100) and the deluxe edition, personally signed by Harari and Kemp, will go for 390 Euros (about $430).

    An exhibition in London’s Art Bermondsey Project Space will coincide with the book’s publication (September 13-30).

    With Gary Hurst and Douglas McNicol, shoot for “The Dreaming,” 1982

    “Hounds of Love” shoot, 1985
    Many more photos after the jump…....

    Posted by Martin Schneider | Leave a comment
    How To Make a David Lynch Film: Perfect parody cleverly disguised as Lynch film within a Lynch film
    12:51 pm



    One of our stock moves here at Dangerous Minds on a slow traffic day is to post something related to David Lynch. Like almost anything about the guy or even tangentially Lynch or Twin Peaks-related (like a cherry pie recipe) is guaranteed to be shared on social media. A lot. People seem to love David Lynch… or do they really?

    To be honest, I’m not so sure how genuine all this supposed rabid Lynch fandom actually is. I think people think they’re supposed to like his work and if they don’t get it, then they aren’t cool. How else to explain the Emperor’s new clothes-ishness of Lynch fans, most of whom, if pressed, have rather a difficult time explaining why they like his films so much. Even smart people will twist themselves into pretzels offering pointless interpretations and tenuous excuses for his work. Ask one of them to be specific sometimes, the resulting word salad, it’s a good laugh.

    Don’t get me wrong, I love the earlier part of Lynch’s filmography: I first saw Eraserhead projected on a wall in my parents’ basement on a 16mm film projector with a print that was acquired via an interstate film library lending system. I’d read about it and I HAD TO SEE IT and that’s the kind of hoops I had to jump through back then to be able to clap my eyes on the film. I saw The Elephant Man in a cinema by myself when I was 14. I must’ve watched Blue Velvet five times in a movie theater. I saw each and every episode of Twin Peaks as it aired. Wild at Heart, I’ve seen this multiple times, too.

    But after that… I mean come the fuck on! From Lost Highway onwards, his films (for the most part) simply stop making sense. Moody? Sure. Sexy? Often. Nice to look at. Okay. They’re also incoherent self-parodies and ultimately say nothing. Frankly I think people extolling the virtues of Lynch’s incomprehensible later films are fooling themselves into believing that there is some occult profundity contained therein. The message? Go ahead and search for one. I’ll just wait here until you’ve given up.

    Writer/director Joe McClean seems to feel the same way I do about David Lynch. McClean made a step-by-step guide on How To Make A David Lynch Film and cleverly disguised it as a David Lynch film within a David Lynch film.

    It’s plain and simple. I watch David Lynch movies and I just don’t understand them. I decided I was going to try and figure them out so I stapled my eyes open and had a Lynch-a-thon. It didn’t help. I thought if I forced myself to watch, at some point it would just click and it would all make since. That never happened. I believe that good and bad are subjective terms so I allow others to spew forth praise and amazement at the genius of Lynch’s work, and I fully believe they have a right to their opinion.

    This movie is my opinion.

    See if you agree too, after the jump…

    Posted by Richard Metzger | Leave a comment
    ‘Possibly possessed keyboard player steals the show’
    10:17 am



    I’m a bit late to the game with this one. Like a week late. But it’s the Internet. And the Internet is a very big Internet. This young lady deserves to be here on Dangerous Minds, because clearly she has one.

    What you’re witnessing is a young woman in what appears to be a marching band playing the keyboard like nobody’s business. She’s feeling it. Do I think she’s possessed? No. She’s just in the zone.

    The video gained its popularity on Facebook and has been viewed almost 2 million times. I see a bright future for her as the opening act for Marilyn Manson or Slipknot. She’s the shit!

    via Everlasting Blort 

    Posted by Tara McGinley | Leave a comment
    ‘Sex’ an ‘adult’ magazine from the 1920s
    09:32 am



    The cover of Sex magazine, December, 1926.
    Sex was a monthly adult-oriented magazine published in the U.S. back in the mid-to-late 1920s that featured racy and often nude photos of women and men that also took on hard-hitting topics such as “Are all beautiful chorus girls dumb?” and “The reason gentlemen prefer blondes.” Ah, the roaring 20s—when the biggest problem faced by society (according to Sex magazine) was trying to figure out how girls operate.

    ‘En Guarde!’ an image from Sex magazine, 1926.
    Back in 1926 and 1927 Sex only cost a quarter and while I’m sure that some folks claimed to find the publication of interest due to its “articles” I’m quite sure that it was the gorgeous, dreamily captioned portraits of nude and semi-nude women and men that helped sell the magazine’s classy take on erotic photography. Of the images that follow there are two that note the names of the models—one turned out to be a celebrity of sorts back in the 20s named Orville Stamm who was known as the “Boy Hercules” and “Strongest Boy in the World.” In 1917 and at the age of seventeen Stamm shot to fame for his Vaudeville shows of strength such as being able to support a stand-up piano (along with its player) on his stomach while in a “crab position.” Zowie. Vintage images from the magazine follow and as the magazine is called “Sex,” most are NSFW.

    More ‘Sex’ after the jump…

    Posted by Cherrybomb | Leave a comment
    Hip hop pioneer Egyptian Lover offers up hand-drawn 12-inch covers
    09:20 am



    LA hip hop and electro music pioneer, Egyptian Lover released some of the earliest rap LPs but is more widely known for his twelve inch singles, particularly 1984’s “Egypt, Egypt” which was a hugely influential track.

    Currently Egyptian Lover is still releasing music, but also making available to fans hand-drawn art covers for his singles. The graffiti style decorations touch on the themes of the Lover’s biggest hits.

    He’s selling the pieces for $150 each, which is not bad for original outsider art from a hip hop luminary. Some of the original 40 pieces on offer have sold, but many are still available. You can contact Egyptian Lover through his Facebook page.


    Many more after the jump…

    Posted by Christopher Bickel | Leave a comment
    John Cage’s 4’33” performed on a refrigerator
    09:20 am



    When John Cage started out on his career as a composer he was all for noise—for creating “more new sounds.”

    In 1937, Cage developed his ideas about noise in an essay The Future of Music: Credo in which he said:

    Wherever we are, what we hear is mostly noise.  When we ignore it, it disturbs us.  When we listen to it, we find it fascinating.

    Noise was the spur. Cage wanted a “revolution, a healthy lawlessness.” He thought this possible by “hitting anything”—tin pans, rice bowls, iron pipes, whatever came to hand—something he later demonstrated on the TV show I’ve Got a Secret in 1960.

    Not only hitting, but rubbing, smashing, making sound in every possible way.

    All this changed when Cage met musician Gita Sarabhai in the 1940s who told him:

    The purpose of music is to quiet and sober the mind, making it susceptible to divine influences.

    It was a major epiphany for Cage. It changed his ideas about “noise” and led him to pose the question why do humans compose music? He said he was “embarrassed” by his search for new sounds and by 1948 had conceived of an idea of creating a piece of music called Silent Prayer consisting solely of “uninterrupted silence” performed for about three or four-and-half minutes (the length of most “canned muzak”) the ending of which “will approach imperceptibility.”

    Cage realized silence was as important as sound in composition—but silence shared only one characteristic with sound—time. Silence can not be described in terms of pitch or harmony but only in duration of time. This led—by one composition and another—to his composing 4’ 33” in 1952.

    This wasn’t the first time Cage had used silence in his music—his Duet for Two Flutes from 1934 opened with silence. Similarly in his Sonatas and Interludes (1946–48) and Waiting (1952) silence was integral to their musical structure. The idea of “silence” had been percolating in Cage’s mind for some time.

    4’ 33” was first performed by pianist David Tudor at a recital of contemporary music at Woodstock, New York on August 29th, 1952. It was performed in three parts of 33’, 2’ 40” and 1’ 20”—each section timed by use of a stopwatch. Tudor indicated the beginning and end of each part by closing and opening the keyboard lid.

    Hear 4’ 33” performed on a refrigerator after the jump…

    Posted by Paul Gallagher | Leave a comment
    New orchid species has the face of Satan
    08:48 am



    Christian Nightmares hipped me to this new orchid species appropriately named Telipogon diabolicus which means “devil’s head.” The orchid—with its claw-like petals—is found in a small patch of land in Colombia. Apparently only 30 of the reddish to dark violet-maroon orchids have been discovered so far. The devilish flower is already a Critically Endangered species in the IUCN Red List.

    Talk about a fleur du mal... I would love to grow some of these lil’ devils.


    Posted by Tara McGinley | Leave a comment
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