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  • Dennis Hopper’s record collection is mostly dollar-bin CRAP and can be yours for just $150,000
    02:09 pm



    If you’re ever looking to whip yourself up into a solid proletarian rage, I highly recommend surfing your internetcomputerbox over to Moda Operandi to get a gander at the appallingly useless trinkets and bullshit the 1% throw thousands upon thousands of dollars at while American children starve. Headphones bedazzled with Swarovski crystals? Check. A $30,000 duffel bag? You betcha! A goddamn quilted leather Pac Man machine? Treat yourself, Barron, you deserve it.

    This holiday season, that site is offering a one-of-a-kind item—the late Dennis Hopper’s actual record collection. The description and photos reveal that Frank Booth rocks basically the same record collection as your bemulletted never-married uncle who goes to the State Fair to see Heart.

    With a career spanning almost six decades as an actor, filmmaker, photographer, artist ,art collector and Hollywood enfant terrible, Dennis Hopper collected over 100 record titles during his lifetime. Including iconic artists and bands such as The Beatles, Bob Dylan, Van Morrison, Fleetwood Mac, Leonard Cohen and Miles Davis, this collection provides an incredible view into the world of one of America’s most culture-defining men.




    The price tag on this is $150,000. Which is insane—I don’t care WHO owned it, this is a pile of extremely common records that, with exceptions we’ll note, should cost all of $100 to collect if even that. Bridge Over Troubled Water, Future Games, James Taylor’s debut, Dragon Fly? I could find affordable copies of all those bin-cloggers within an hour IF I had any desire to listen to them.

    Now, the photos also show what appear to be test pressings of Carl Perkins’ “Blue Suede Shoes” and “Meshkalina” by the Peruvian rock/folk/psych band Traffic Sound, both of which are mighty goddamn cool artifacts. Also mitigating the price tag is that “[a] portion of the sale price will be donated to The Future Heritage Fund, which was founded in partnership with the New Mexico Community Foundation (NMCF) to support a range of cultural and artistic nonprofit organizations in New Mexico.”

    More after the jump…

    Posted by Ron Kretsch | Leave a comment
    Funny jazz album covers by MAD magazine’s Don Martin
    01:11 pm



    Jazzville in Percussion
    Anyone who has so much as glanced at an issue of MAD magazine from its heyday three or four decades ago will be familiar with the distinctive imagery of Don Martin; he was one of the magazine’s defining graphic artists, alongside Sergio Aragones, Antonio Prohias, Jack Davis, and Al Jaffee.

    Martin worked at MAD for from 1956 to 1987, contributing many dozens of utterly distinctive cartoons. He was identified closely enough with the publication to be habitually referred to as “Mad’s Maddest Artist.” Martin’s stock in trade was what might be considered static slapstick. His characters invariably featured well-nigh cylindrical skulls, outsized schnozzes, and hinged feet, such that a character’s toes might creep over a sidewalk curb.

    Don Martin other main trademark was a genius for exaggerated onomatopoeia, as this page helpfully demonstrates. “SHKLIZZORTCH,” “NNYEEOWNNT,” “CRUGAZUNCH,” and “FPFWORPFT” were just a few of the elaborate sound effects he invented for his crazy scenarios. (It’s said that his license plate read “SHTOINK.”)

    At some point early in his career, Martin did a series of album covers, five percussion-based albums assembled by Pierre Du Jardin that fit tidily in the original Space Age bachelor pad -type music that Harry Crane from Mad Men might have favored. The covers were squarely in the style Martin had established at MAD, poking fun at the middle-American dorky white male who cannot achieve any level of “exotic” status no matter how much hepcat jazz he listens to. Most of the albums signal this “worldly” flavor with keywords like “Latin,” “South of the Border,” or “Internationale.”

    Nobody seems to know what year these came out, but this auction house guesses 1960, which seems reasonable to me. Based on the artwork alone, it seems clear that Martin executed these covers well after establishing his signature style at MAD—indeed, it’s hard to look at these and not conclude that they must be official MAD releases (which they were not).

    One reason we can surmise the relatively late timing for this set of five albums is that it was not Martin’s first foray into jazz album cover design. In 1956 he did several album covers for Prestige for noted jazz artists such as Miles Davis and Sonny Stitt, and the style is completely different—they’re not funny (they’re actually a bit grim), you’d never look at them and say “Oh there’s a Don Martin drawing.” If anything they seem vaguely aligned with a flat, Kafkaesque, and/or “sick” style of drawing of that era that might include Saul Steinberg, Basil Wolverton, or Virgil Partch. I’ve included images of those covers as well.

    Percussion with a Latin Twist

    South of the Border in Percussionland
    More from ‘MAD’s maddest artist’ Don Martin, after the jump…

    Posted by Martin Schneider | Leave a comment
    Home Made Histories: Classical Art meets Pulp Fiction
    11:09 am



    The artist Thomas Robson describes himself as a “recovering ex-broadcast television graphic designer.” He spent fourteen years, “focused on producing graphics and animations for the BBC Newsroom in Belfast during some of the most traumatic years of the Northern Ireland conflict.”

    The experience of working with “a highly edited and curated visual language” gave Robson an “increasing unease” to broadcast television—where the finished product “deliberately sets out to blur viewers’ ability to differentiate between the contrived world and the real one.”

    Every day he was “editing and re-contexturalising imagery into new transient compositions based around multiple elements and perspectives”—all of which (he admits) may have been “a precursor of [his] collage experimentation?”

    Robson began to wonder how he could make viewers question the received imagery more deeply. He started to create collages which fused classic paintings with photography and populist imagery. He tells me he was “visually experimenting, creating visual short circuits disrupting the context form and composition of the original pictures. Generating transitory new types of provisional imagery possessing an amalgam of the enigmatic and the accessible. Offering compelling interplays between the residual associations of the original pictures and the dissonances of the imposed visual collisions.”

    He describes this process as Art Remix—“a new categories of art composition.”

    In which new layers of visual interventions are used to reconstruct and transform the significance of images, place them in new contexts and in so doing make new demands on the viewer.

    It is an approach which seeks to short circuit peoples’ common interactions with representational fine art & photography. Forcing them to question images more intently, and in so doing develop enhanced critical skills and visual literacy.

    Home Made Histories mixes classical painting with images from pulp fiction. He describes this work as “Rewiring aesthetics, with new visual narratives.”

    One important influence on Robson’s life has been living though thirty years of sectarian conflict in Northern Ireland. This Robson claims has made him “highly sensitive to the repressed emotions and hidden meanings which underpin many social interactions and conversations.”

    This search to discover the hidden or the repressed voice has always informed my reaction to the highly representational portraits of western art. To my eyes they always evoke questions of what informed their production, just how accurately do the finished pictures conceal or reveal the sitter’s true identity, the artists personality and indeed how such pictures strive to totally extinguish the context of their production in the studio.

    From the democratic and more open contexts of today, it is as if the concept of creative expression was repressed by a slavish adherence to a highly codified academic style of painting. Visual language was defined and corralled in a rigid hierarchical structure, by a self appointed aesthetic elite who had appropriated the power to adjudge and frame what was good and bad art, and in doing suppress and control artistic and creative expression. It is this suppression of expression and selective edit of social memory that creatively excites me.

    Home Made Histories depict 17th century and 18th century family portraits juxtaposed with sensationalist images of violence pulled from pulp magazines and novels. Here is a secret narrative to what the original artworks are possibly hiding—abuse, oppression, and the growth of empire. Robson’s artworks encourage the viewer to engage and question rather just passively admire.

    I like Robson’s work and wanted to know more. I winged him a few quick q’s by email to ask about his inspiration and ideas behind Home Made Histories.

    Thomas Robson: I was listening to James Elroy’s Blood’s A Rover audio book (HIGHLY recommended!) which is pretty pulpy in nature, whist collaging a collection of elements from ‘men’s magazines’ with ‘fine art’ images. To see what would happen when such disparate elements were in forced collision. Basically visually re-interrogating received ‘fine art’, by using collage techniques in combination with the tools, visual language and grammar of today.

    In practice it quickly a became apparent the narrative dissonances caused by the widely differing elements. Were successfully impeding received ways of digesting the underlying ‘fine art’ images, by offering intriguing and highly accessible new visual narratives. Pictures cleansing viewers’ visual palettes, enabling new meanings swim in and out of focus.

    But most importantly of all I really like the strong aesthetics resultant, and there’s a lot more good work to come. Which when translated into paintings should result in some pretty strong imagery to intrigue, excite and repay repeated viewings.


    Robson’s work has been included in several books—most recently Anatomy Rocks—Flesh and bones in contemporary art and a new exhibition The Brex Pistols Shrapnel Show will be held on December 5th, The Old Rifle Range, Killyleagh. His work is also available to buy as postcards.

    If you like what you see then do check out more of Thomas Robson’s artwork here.
    More of Thomas Robson’s pulp histories, after the jump…

    Posted by Paul Gallagher | Leave a comment
    ‘Murder the faculty’: Crazy high school yearbook quotes from 1911
    10:44 am



    Here’s a high school yearbook with amusing Senior quotes from 1911. It’s from the Spokane’s High Class of ‘11. Some interesting life ambitions from Gretta Alice Robinson—who “wants to marry a dwarf”—or Phyllis Belle Johnson who wants “to murder the faculty.” There’s even an edgy socialist agitator in the class whose goal is “to incite a riot.”

    I didn’t even know high school yearbook quotes were “a thing” back in 1911 or even that they made high school yearbooks at that time. Apparently high school yearbooks go all the way to the 1880s. Now whether or not they had whimsical quotes in them back then, I do not know. Considering 1911 isn’t too far from the 1880s, I’d wager they probably did. Don’t quote me on that, though. No pun intended.


    More after the jump…

    Posted by Tara McGinley | Leave a comment
    The secret artists Michael Jackson hired to paint insanely bizarre portraits of himself
    10:26 am

    Pop Culture


    Titled “Michael,” this oil painting by David Nordahl depicts Jackson as Michelangelo’s David surrounded by cherubs.
    In April 2009, just two months before Michael Jackson’s sudden and unexpected death, Julien’s Auctions hosted a four-day public exhibition of 1,390 personal items from Neverland Ranch at the abandoned Robinsons-May department store in Beverly Hills. The exhibit was a fascinating look into the King of Pop’s personal treasures: from his iconic white-jeweled glove to a wonderland of 19th-century antiques and sculptures. One couldn’t help but notice the high volume of utterly bizarre works Michael Jackson had commissioned just for him: A life-sized statue of himself as Batman, a custom hand-painted Beverage-Air cooler, and a custom golf cart featuring an image of himself as Peter Pan painted onto the hood. However, what stood more than anything else was the exotic menagerie of oil paintings and murals of the pop star. Over many years Jackson paid dozens of artists to immortalize himself and his fairy-tale worldviews on canvas in scenes that depicted him as a figure of modern-day royalty in mythical tableaux. Where did Michael Jackson find the artists to help him amass such an insane collection of vanity? Why did somebody who was never satisfied with his looks spend millions of dollars to have his portrait painted?

    Céline Lavail’s 1998 “Peter Pan” Neverland Ranch golf cart painting (from Julien’s Auctions Michael Jackson Exhibition catalogue).
    Summer 2003, Leon Jones, a self-taught artist from Buena Park was airbrushing portraits of celebrities such as Lucille Ball, Jennifer Lopez, and Tupac Shakur on the sidewalk outside Café Tu Tu Tango at Universal Citywalk. A strange gentleman approached and asked if he was available to do some work for “his boss.” Jones was skeptical but agreed to meet the man at a gas station in Santa Barbara two days later after being persuaded by $500 in cash. Leon Jones and his nephew then followed the man through Los Olivos, CA, and were amazed when their final destination was revealed: Michael Jackson’s extremely secluded Neverland Ranch. Jones was then commissioned by Jackson to paint two, 15-feet-high murals at the Neverland train depot which took him several months to complete. One of the murals depicted Jackson in knight’s armor donning angel wings and the other showed Jackson surrounded by winged children pointing toward the heavens. “It was unreal, like you were on a different planet,” Jones said of his experience.

    47-year-old American painter David Nordahl randomly received a phone call from Michael Jackson at his home in Santa Fe late one evening in early 1988. He thought it was a prank at first, but Jackson convinced the artist it was really him after describing a painting of Nordahl’s he had just seen in Steven Spielberg’s office earlier that day. After their initial hour-long conversation, Jackson invited him to the Denver stop of the Bad tour in March 1988 and soon after a partnership was formed: Nordahl left the commercial art world to become Jackson’s personal portraitist. Over the next seventeen years this creative collaboration resulted in thousands of drawings and roughly a dozen large-scale commissions. Jackson spent millions of dollars paying artists like Nordahl to transform his surreal and mythological ideas into fantasy art.

    “The Storyteller” Nordahl shows Jackson as a Peter Pan-like figure surrounded by children including his sister Janet who is depicted as a fairy.

    In Nordahl’s “Field of Dreams” Michael leads children of all nationalities (including sister Janet, AIDS activist Ryan White, actor Macaulay Culkin, and Pippi Longstocking).
    Jackson paid up to $150,000 for the larger pieces and began referring to David Nordahl as his “favorite living artist” (Michelangelo being his favorite artist historically). Nordahl became a close friend, trusted adviser, and confidant who helped design Neverland Ranch carnival rides and joined Jackson for family trips to Disneyland. In 2004, Jackson and his children paid Nordahl a surprise visit on memorial day weekend, dropping by his Santa Fe home on their plush private bus. Jackson suggested a movie outing. “I thought we were going to a screening room,” Nordahl says. “His driver pulled into DeVargas Mall. He was friends with Roland Emmerich (the director of The Day After Tomorrow), and it was opening weekend. The mall was jammed, and there was no place to park. I took the kids, got the tickets and popcorn, and we went in. Michael came in after the lights went down. The lights came up, and nobody noticed him. He had on a baseball cap and these Chinese silk pajamas.”
    Portsmouth-based portrait artist Ralph Wolfe Cowan painted Michael Jackson four times around 1993. The pop star bought the first portrait and then commissioned and paid for three more shortly after that. Cowan’s first abstract portrait depicted Jackson wearing a suit of armor, holding a sword with a parrot perched on top of it. Bubbles, Jackson’s pet monkey, was portrayed sitting loyally at his feet. After the first image of the portrait was sent to Jackson’s staff Cowan received back a strange, long-relayed message. “When I painted it, I had these dogs down in the bottom somewhere. German shepherds. Michael Jackson called up his curator, who called the guy at the gallery, who called my business manager Steve (Mohler), and Steve told me Michael didn’t want the dogs in there,” Cowan recounted. Extremely confused, Cowan insisted he hears from Jackson himself. Soon after, Cowan got a call. “Hello, this is Michael. I don’t like dogs,” he said in a soft, gentle voice. “I like monkeys.” Jackson paid about $30,000 for the 8-foot-tall painting, sans the dogs, which he hung in a living room beside his piano and can be seen in the background of Jackson’s well-known 1993 televised living room interview with Oprah Winfrey. Eventually, their working relationship deteriorated. Cowan explained how painting for Michael Jackson was really like working for a king. “He lived in a fantasy world and if he didn’t like something, you felt as if he could behead you. But the way he does it is by not calling you again. And somewhere along the line he stopped calling me and I thought I had been beheaded.”
    Keep reading after the jump…

    Posted by Doug Jones | Leave a comment
    A slow-motion, underwater fart
    10:16 am



    I had thought that this morning I might prepare a post about Adam Curtis’ excellent documentary, HyperNormalisation, which is certainly the best documentary of the year, in my opinion.

    It’s an examination of US and Middle Eastern affairs and how they relate to the power structure shift from the political to the corporate, and how this new power structure has created a “truth” out of lies designed to simplify complex world dynamics, and how this false narrative is held in place by mass human interaction with a cyberspace that allows people to exist in insular narcissistic bubbles that reflect the user’s selves back at them. This depressing document can be viewed, at least for the time being, on YouTube HERE.

    HyperNormalisation suggests a false reality that is at this point so complex that there may be no hope of unraveling it, and it’s the reason whereby atrocities like Brexit and Donald Trump can happen completely under the noses of the groups of people who might have been able to create opposition.

    But, yeah, I’m not going to post about that today…

    Keep reading after the jump…

    Posted by Christopher Bickel | Leave a comment
    Stream the ‘scary’ & ‘demented’ new album by Doomsday Student, with ex members of Arab on Radar
    07:36 am



    A few weeks ago, Jason Pettigrew wrote a really fun listicle for Alternative Press called “Ten Bands That Are Actually Terrifying.” Sitting comfortably among other worthies like Deathspell Omega and Einstürzende Neubauten were Arab on Radar, a ridiculously noisy Providence, RI group of the 1990s who helped open the door to the 21st Century’s No-Wave revival. Here’s Jason’s blurb:

    Nothing particularly scary about this late-’90s noise-rock unit fronted by Eric Paul. That is, until they got onstage, plugged in and created a caterwauling scree that emanated the ugliest of vibes. While onstage, Paul threw himself into everything (bandmates, audience) while approximating the high-pitched squealing heard in animal-testing facilities. When this writer first saw them, the bad vibes spilled out into the street post-show, with plenty of fights, vandalism and muggings going down. Or was it just the neighborhood? (RIP, Speak In Tongues, Cleveland.)

    As it happens, I was at the same show, and it wasn’t just the neighborhood, though the neighborhood certainly was a bit more wild-west back then (the venue is now a waxing studio—RIP Speak In Tongues, indeed). I’d known Arab on Radar only by name, and was utterly unprepared. I stood transfixed in front of the stage, genuinely frightened that I might come to physical harm either from the band or the rest of the audience, but unwilling to miss a single note—they DID play actual notes, I’m fairly sure. The band members’ faces were distorted with white-hot maniac rage, they wore grey uniforms that put me in mind of concentration camp janitors, and their music was beyond assaultive, it was downright punitive. The most lasting image in my mind of that show was of drummer Craig Kureck, his face twisted into a mask of murderous anger, just fucking ruthlessly smashing a cymbal which he held in a chokehold, as if he was shattering someone’s skull with a hammer.

    I’d made a jaded bastard of myself by spending over a decade going to every show I could possibly see, and was always stunned when I found bands still capable of surprising and exciting me to that level. I fell in love and bought many records.

    More after the jump…

    Posted by Ron Kretsch | Leave a comment
    Silent Night, Boogie Nights: Sexy movie posters from the golden age of XXX
    04:02 pm



    ‘The Night Bird is to porno what Studio 54 is to disco!’ Of course it is…

    If you’re looking for just the right movie poster—one that simply screams YOU (or even someone else’s name)—then you should probably head over to our expert friends at the Westgate Gallery, one of the very best curated selection of groovy movie posters anywhere on the Internet.

    Westgate Gallery—named after a seedy 70’s porn theater in Bangor, Maine—is now having a sale—and not just on their “Golden Age of Porno” merch, either, but the entire store (they specialize in cult films, XXX and particularly lurid Italian giallo posters) is 40% off. If you know someone who is a big cinema buff (or retro porn addict?) they will love a gift from the connoisseur’s dream selection at Westgate Gallery:

    SILENT NIGHT, BOOGIE NIGHTS!   It’s going to be a Merry XXX-mas for everyone on your Naughty List!  Online original movie poster boutique has just launched our 2nd annual BLACK THROAT FRIDAY 40% OFF ORGY OF SAVINGS!  With the largest collection of illustrated/art-style original XXX movie posters commercially available, you can follow The Erotic Adventures of Wall Candy from its white-coater/marriage manual-skanky storefront beginnings with Rene Bond and Tina Russell through the heyday of porno chic superstars Marilyn Chambers, Annette Haven, Seka, Veronica Hart, Kelly Nichols, Vanessa Del Rio, Desiree Cousteau, Constance Money and Serena through the heavily hairsprayed princesses of the VHS home-video explosion including Ginger Lynn, Lois Ayres, Christy Canyon, Amber Lynn & notorious fake-ID enthusiast/Redondo High dropout/amnesia sufferer Traci Lords!  Pick up saucy Pop Art classics by Chet Collom, Tom Tierney, Olivia DeBerardinis, Armand Weston, Elaine Gignilliat and mysterious airbrush queen Penelope, some for under $20!  And our exhaustive archive of large-format Italian posters for American, French, West German & Danish hardcore humpfests is a dazzling array of lush masterworks (and a few hilariously kitschy hair-salon stunners guaranteed to heat up any boudoir, by the same top Euro commercial artists—Enzo Sciotti, Mafe, Aller, Morini, Sandro Symeoni & Mario Piovano—responsible for the thousands of non-porn Italian posters.  Another WG exclusive:  an extensive collection of ravishingly restored, linen-backed one-sheets ready for framing, which, like everything else in-stock, are 40% Off through Dec 24.


    ‘Dental Nurse’—makes a great gift for your dentist or dental hygienist. Or maybe not. No.

    ‘il Vizio di Baby’ AKA ‘Baby’s Vice & Ramba’s Greed’

    ‘Proibito’ AKA ‘Babylon Pink’
    More, more, more after the jump…

    Posted by Richard Metzger | Leave a comment
    ‘Body by Jake’ Steinfeld stars in Thanksgiving-themed Video Nasty, ‘Home Sweet Home,’ 1981
    10:31 am



    Home Sweet Home VHS box cover
    Last year at this time, I told DM readers about the impending limited Blu-ray release of a slasher film set during the Thanksgiving holiday, Blood Rage (which, incidentally, will soon be reissued in a standard edition). In that post, I also mentioned another Thanksgiving-themed horror picture, Home Sweet Home (1981).

    Home Sweet Home stars Jake Steinfeld as homicidal maniac Jay Jones, an escaped mental patient, convicted for killing his parents. Steinfeld will be familiar to many as the fitness guru behind the “Body by Jake” brand of books, TV shows, etc. He even has his own catchphrase: “Don’t quit!”
    Body by Jake
    Like so many other horror movies from the era, Home Sweet Home incorporates elements from John Carpenter’s Halloween (1978), the most obvious aspect being the holiday setting. As far as I can tell (and I know our dear readers will correct me if I’m wrong), this is the first horror picture to take place during Thanksgiving. It’s also one of the few slasher films directed by a woman; in this case, one Nettie Peña.
    Home Sweet Home title card
    When we first lay eyes on Steinfeld/Jones he’s about to strangle a guy sitting in his station wagon. After he kills the dude, Jones steals the wagon, and we then watch him inject PCP into his tongue—! Moments later, he’s running over an elderly woman. We’re now but four minutes into Home Sweet Home.
    Jake Steinfeld as Jay Jones
    Blood on the windshield
    You’d think with this beginning you’d be in for a wild ride, but as is often the case with exploitation cinema, what’s initially implied isn’t always the way things go. Instead, the picture settles into a more stable pace, with Jones periodically killing innocent people and laughing maniacally every time he offs someone. Eventually, Jones focuses on terrorizing a group of friends and family who have assembled for Thanksgiving dinner. You might presume he targets them as part of some jealous rage because he has no family of his own (he’s got “Home Sweet Home” tattooed on his hand), but who knows—his motive is never even mentioned in the film.
    Aside from Steinfeld, the one to watch in this cast of characters is a young man that lives at the house where the party is taking place. You can’t miss him; for the entire movie, he walks around playing guitar with a portable amplifier strapped to his back, merrily annoying everyone within earshot. And he has the greatest name: “Mistake.” It’s not even apparent that’s his name until the closing credits, as everyone calls him “Stake,” for short. Oh, and he’s wearing whiteface the whole time. I guess he likes KISS?
    Mistake in action
    Home Sweet Home largely alternates between goofy and scary, though the mood isn’t always predictable. One aspect of B-movies I love is the established tone can flip on a dime—anything is possible. The film does not disappoint in that regard. Take the scene in which Jones holds a knife to the throat of one of the female guests and Stake pleads with the madman to “take me instead.” The moment is surprisingly touching, but it’s also unnerving, as we know by now that Jones is probably going to kill them both anyway. As Stake whimpers while awaiting certain death, there is actual sadness for the dumb kid in whiteface. Home Sweet Home also has its share of striking images, which at times appear for seemingly no other reason than to shock the viewer.
    More after the jump…

    Posted by Bart Bealmear | Leave a comment
    ‘Porcelain Beauty’: Alluring portraits of albinos
    03:12 pm



    Albinism is defined as an absence of pigment in areas, particularly the eyes, hair, and skin, where pigment is almost always present in humans. It is a congenital disorder that results in an absence of or defect in tyrosinase, a copper-containing enzyme that plays a role in the production of melanin.

    Many people who are albinos also have vision defects, such as photophobia, nystagmus, and amblyopia, and the lack of melanin also means that they are at unusual risk from the harmful effects of the sun’s rays.

    Since they are so rare (approximately 1 person in 17,000), they are the object of unusual fascination. In her series Porcelain Beauty, Israeli photographer Yulia Taits highlights the angelic or ethereal quality that some albinos have. “Their unique beauty hypnotizes me,” she has said. “This beauty is so pure and amazing for me, as if it was taken from fantasies and fairy tale legends.”

    Albinism is not limited to human beings—it can occur in all vertebrates. So Taits recruited an albino dog and an albino mouse as well (well, they’re white anyway).

    “This series was an amazing experience for me because I could create this beautiful photography without Photoshop,” Taits said. “What transpired was pure natural beauty.”


    More after the jump…...

    Posted by Martin Schneider | Leave a comment
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