or Connect
Styleforum › Forums › Men's Style › Streetwear and Denim › [SOON , A TITLE HERE ]
New Posts  All Forums:Forum Nav:

[SOON , A TITLE HERE ] - Page 60

post #886 of 1305
Quote:
Originally Posted by the shah View Post


A doorway on the roof terrace.

This is good. Rest is awful. I can see why it "chased him out"
post #887 of 1305
Quote:
Originally Posted by mordecai View Post

This is good. Rest is awful. I can see why it "chased him out"

a consequence of orientalism is that everything oriental automatically becomes so cool that no regard is given for aesthetics or relationships with one another and you get this kind of mess
his scents are still nice though
post #888 of 1305
Quote:
Originally Posted by the shah View Post

a consequence of orientalism is that everything oriental automatically becomes so cool that no regard is given for aesthetics or relationships with one another and you get this kind of mess
his scents are still nice though

Would you call it Orientalism, or Westernism, or some other term when people in or from the Middle East do the same tacky shit with European/Western style?
post #889 of 1305
Quote:
Originally Posted by mordecai View Post


Would you call it Orientalism, or Westernism, or some other term when people in or from the Middle East do the same tacky shit with European/Western style?

Stockholm syndrome devil.gif

(but it goes both ways, look at my western sit-down toilet and italian coffee maker and ikea shoe rack all so nice next to each other)
post #890 of 1305
Quote:
Originally Posted by the shah View Post

Stockholm syndrome devil.gif
(but it goes both ways, look at my western sit-down toilet and italian coffee maker and ikea shoe rack all so nice next to each other)

So the Edward Said route? The Ottoman Empire never existed, Persia never existed (or at least neither were aggressive or threatened Europe in any substantial way)? All oppression was from outside sources and all lingering problems, including those of taste, are a result of it?

devil.gif
post #891 of 1305
Quote:

In 1990, a young woman brought some peculiar architectural drawings she had found several years earlier to San Francisco gallery-owner and collector Bonnie Grossman with a view to selling them. The drawings were highly elaborate, but the buildings they depicted were imaginary. They were signed, but the artist’s name was altogether unknown. Grossman was fascinated: she bought the drawings, and, after doing a little detective-work, tracked down a much larger collection of works by the same artist, one A.G. Rizzoli, which she found in his great-nephew’s garage.

 

Achilles G. Rizzoli (1896-1981) was the fourth of five children born into a poor, immigrant family. His parents were recent arrivals to California from Ticino, the Italian-speaking part of southern Switzerland. Between 1912 and 1915 Rizzoli studied engineering at a polytechnic college in Oakland, where he formed a particular interest in architecture. These were difficult years for the Rizzoli family: one of his (unmarried) sisters became pregnant, left the family home, was married, but then divorced; his oldest brother left the family home permanently, never to be seen again, and, in the Spring of 1915, his father disappeared, having stolen a gun from his employer.

 

Achilles was an eccentric. In the early ’20s he filed at least two lawsuits on flimsy pretexts concerning perceived injustices he felt had been done to his family. He worked at a variety of low-paying jobs. From about 1927, he began composing short stories and novellas about a group of utopian architects: these literary endeavours culminated in a novel entitled The Colonnade, which Rizzoli had published at his own expense in 1933, under the pseudonym ‘Peter Metermaid.’ Alas, Rizzoli’s prose, we read, was ‘verbose, stiff and boring,’ and his book found no readers. By 1933, Rizzoli was living alone with his mother: he never married, and was a lifelong celibate.

 

It was only in 1935 that Rizzoli began illustrating his utopian visions. Over the next decade he ‘produced a body of spectacular architectural renderings, in grand Beaux-Arts style.’ These were done in coloured ink on rag paper, and followed an inscrutably elaborate plan for a notional locale Rizzoli termed YTTE, an acronym for the phrase ‘Yield To Total Elation.’ In many cases, the drawings were also intended as ‘symbolic portrayals’ of family-members, neighbours, or acqauintances. In 1936, Rizzoli began work as a draughtsman at the offices of a local firm of architects. Later that year came news that his father’s remains had been found at an isolated spot in Marin County: an apparent suicide. Also in 1936, his beloved mother’s health began to deteriorate— she died the following year.

 

Rizzoli stayed on in the house he had shared with his mother, where he lived out an austere, friendless life. On a number of occasions in the late ’30s he staged home-made exhibitions of his work, which only a few of his neighbours and colleagues ever came to see. After 1944, Rizzoli began work on a new project, little of which, alas, is known to have survived: ‘an illustrated prose narrative that included sketches for new architectural transfigurations…’ From around this time, he reported experiencing increasing numbers of mystical-religious visions: ‘pageantry in which action and drama and melodies and imagery…are…very much of the substance of air…[and] well nigh as essential.'

 

Rizzoli’s final artistic project commenced in 1958: an on-going record of his visions which combined verse, prose and architectural sketches. This work eventually filled over three hundred 24" x 36" vellum sheets: Rizzoli entitled it the A.C.E., which stood for AMTE’s Celestial Extravaganza. AMTE, in turn, stood for ‘Architecture Made To Entertain,’ which, in Rizzoli’s worldview, was both an underlying architectural principle, and its sacred, virginal, female personification. Rizzoli continued work on the A.C.E. until he suffered a debilitating stroke in 1977.

 

 

I saw Rizzoli's work at the Denver Museum of Contemporary Art almost two years ago. It's kind of sad but very beautiful. He's an interesting guy. I wouldn't mind visiting YTTE and I'd like to read his book, even if it was panned. Pictures n text from http://www.spamula.net/blog/2005/04/ag_rizzoli.html

post #892 of 1305
post #893 of 1305

If you haven't seen this movie you're missing out "La Haine" Matthieu Kassovitz 1995

post #894 of 1305
alert! alert! un-centered post!
post #895 of 1305
Quote:
Originally Posted by smashwindow View Post

If you haven't seen this movie you're missing out "La Haine" Matthieu Kassovitz 1995

one of my favorites obviously, i watch it once a year icon_gu_b_slayer[1].gif

check out un prophete if you haven't
post #896 of 1305

probably the best depiction of modern france even though its almost 20 years old.  I remember when I lived in france they had bouncers at mcdonald's to keep the "racaille" out.

post #897 of 1305
Quote:
Originally Posted by smashwindow View Post

probably the best depiction of modern france even though its almost 20 years old.  I remember when I lived in france they had bouncers at mcdonald's to keep the "racaille" out.

i don't actually think it's that accurate of a depiction. yeah the overall message maybe but have you been to 93 or 95 ? not really like it's portrayed in the film, the guys there didn't like it at all haha
post #898 of 1305

never been to those parts of the banlieu, but from my window in the 7th thats what I imagined it looking like, I lived there from '99 to '02.

post #899 of 1305

 

inlove.gif

post #900 of 1305



My favorite historical reenactment. Ever.
New Posts  All Forums:Forum Nav:
  Return Home
  Back to Forum: Streetwear and Denim
Styleforum › Forums › Men's Style › Streetwear and Denim › [SOON , A TITLE HERE ]