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62ND FLOOR ART-ZINE ISSUE TWO /DEC 2011
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ANALOGUE LOVE Editor’s Letter
It’s a pleasure to share with you the second issue of 62ND FLOOR. With contributions from across the globe - Moscow, Paris, Las Vegas, Canada, NYC and beyond - you certainly won’t be guilty if your mind goes on an adventure. Our Content Editor April indulges us with an electic and potent series of images that please and provoke. With art, you can be as naughty and as weird as you like, isn’t that what they say? Well we haven’t even started yet...
-Ian Cole
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MASTHEAD Editor-in-Chief Ian Cole editor@supplementaire.org.uk Content Editor April-Lea Hutchinson april@supplementaire.org.uk Copy Editor Catherine Porter-Brown cpb@supplementaire.org.uk
Contributors April-Lea Hutchinson Clay Lipsky Elena Kholkina Frank Love George Weiss III Jade Fitton Philippe Bourgoin Wolf189
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Issue 2 Cover credit: Photographed by Elena Kholkina
Contribute If you would like to contibute, then please email our Content Editor: April-Lea Hutchinson april@supplementaire.org.uk General Enquiries / Advertising: 62@supplementaire.org.uk
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CONTENTS Page 06 Clay Lipsky
Page 12 Alena Kholkina
Page 18 Grayson Perry review
Page 20 April-Lea Hutchinson
Page 26 Frank Love
Page 32 George Weiss III
Page 38 Wolf189
Page 44 Philippe Bourgoin
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CLAY LIPSKY Title: Retrospection Photographer: Clay Lipsky Clay Lipsky is a photographer & graphic designer based in Los Angeles. His images have been exhibited in various group shows including those at the Tampa Museum of Art and the Annenberg Space for Photography. 62nd FLOOR Clay's work has been published in SHOTS, JPG, F-Stop, Shutterbug Magazine and f-eleven books (including two covers).
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Website:Â www.GoClayGo.com
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GRAYSON PERRY TOMB OF THE UNKNOWN CRAFTSMAN
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“Do not look too hard for meaning here, I am not a historian, I am an artist. That is all you need to know.” What a relief.
new pieces for this exhibition) are scattered amongst a selection of the 8,000000, that’s right, 8 million artefacts that The British Museum is unable to display. All of them (bar two plates and Perry’s own work) are made by unknown craftsmen. This exhibition, if you hadn’t already guessed, is an homage to them. There has been talk of “How sensational it is to have a contemporary artist curate an exhibition at the British Museum” and it really is, but as Perry point’s out “Everything in the British Museum was contemporary at one point in time.” Perry reminds us that fundamentally humans haven’t changed that much over the thousands of years on display in the tomb, from the fashionable Samoan bonnet made of tortoise shell to the satirical Russian etching of the devil farting money over the greedy. It’s a wonderful insight into humanity over hundreds of thousands of years and some of Perry’s works (especially the Rosetta Vase) epitomize our society today so aptly that I wouldn’t be surprised if in thousands of years to come humans/robots/alien lizards are viewing them as a memorial to society today, almost as a shrine, which is what Perry openly admits to wanting.
If you have any interest in the world we live in whatsoever, I would defy you not to enjoy this exhibition. Perry’s works of art (including 25
I am reluctant to white-wash this article with my interpretations of this exhibition as I believe that is entirely up to the artist, and I’ve already heard
you walk up the steps towards the entrance of Grayson Perry’s exhibition at the British museum (and I trip up them) you catch a glimpse of bright pink and light blue. Turning the soft curve of the staircase the epicenter of the luminous glow is revealed. A beautifully, if garishly crafted motorbike come ‘Pope Mobile’ with a penis shaped seat reading “Chastity” stands proud and steadfast in it’s own appearance. It is not there to be mused upon, in Perry’s own words “we are not to be ironized”; it is there to be enjoyed, as you soon find is the rest of the exhibition. The bike/pope mobile is now a “shrine” but was recently a carriage for Perry and his personal God (50 year old teddy bear Alan Measels) on their peacemaking pilgrimage around Germany. Upon entering the actual tomb artists, historians and mere mortals like myself are welcomed with Perry’s words of advice:
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enough people exalting there’s but I will give my opinion. It is fascinating, depressing, accurate, hilarious, sage, modest and in my opinion, utterly brilliant. As you may have deduced, my only qualms with the exhibition were as usual, other people. Who feel the need to tell each other their interpretations of each of Perry’s pieces loudly and somehow manage to teleport two steps behind you while being one in front. There is no escape from the misguided, just try to zone them out. One of Perry’s most apt statements was in regards to God today “It’s hard for it to establish itself without a web presence.” As you leave the exhibition you are bombarded with all the different ways of following it on the web. Which to my surprise, I didn’t have a problem with as an exhibition of this caliber should be seen by as many as possible; and in a way it only reinforced his point with that funny old thing we call irony. I strongly recommend making a little pilgrimage of your own to this. It is likely we will never see these pieces together again as they head back to their itemized drawers in the private tombs of The British Museum and Perry’s pieces continue their journey through time. Words by Jade Fitton
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FRANK LOVE Title: Polaroids Photographer: Frank Love Frank Love is an avid film person in most incarnations of the medium. Working between motion pictures and The Impossible Project, Frank doesn't like to limit himself in choice of format with film, be it large or small, moving, still, or instant. Frank believes in capturing his subjects in as honest a way possible, which doesn't necessarily mean the most visually accurate, but accurate in conveying the personality and spirit of that person, thing, or place. You can find Frank at his website www.fovephotography.com or email him at flovephotography@me.com "As for my work that I submitted. What's behind it is, as you asked for them to be simple things/objects, I felt it would only be appropriate for them to either be something personal to me, something I found that I thought was beautiful,
or that I felt was symbolic of what I was using to shoot these images, as these were my last packs of Polaroid 600 film, and Polaroid Time Zero. I had been wanting to save them for some project, and when I got that message from you it seemed perfect. The image of the orange is my last shot of 600, I wanted something simple but colorful, and this my g/f had just picked up that day, and with the leaf still on it, it gave me the impression of something living on though disconnected from the tree, much like how Impossible as I know you know is keeping the format alive though the tree that was Polaroid is gone. The others are a little more simple, the mug is my g/f's that she drinks her iced coffee out of everyday that I make for her, and the key is my key to our apt, first time living with someone like that. The others were either associated things or images I felt striking. "
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GEORGE WEISS III Title: Polaroids Photographer: George Weiss III George is a 28 year old photographer from Lancaster, PA currently living in Philadelphia. He specialises in wedding/portrait photography and has a passion for polaroid and lomography. His work has been featured in many mediums 62nd FLOOR from album covers to gallery shows. www.flickr.com/photos/themadstork
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PHILIPPE BOURGOIN Title: In the Shadows of Love Photographer: Philippe Bourgoin
photographed a few record covers.
Philippe was born in Paris in 1954 and has enjoyed a varied and illustrious career. Originally a screenwriter, he had a feature film on screen in 1977. He then studied at NYU Film School where he discovered camera work and cinematography. He directed six or seven short films.
In 1993, he moved to Cambodia where he lived until 2000, shooting documentary work, and writing short stories published in France. He also wrote a season of sitcoms in Cambodian!
Success for him came in the early eighties in France as a writer/producer of records. He was also a music publisher, directed videoclips and
When he returned to France in 2000, he wrote a book, and ultimately returned to photography, shooting portraits, nude photography and using instant film. Website:Â www.polas.book.fr
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