Aktualisierungen Januar, 2020 Kommentarverlauf ein-/ausschalten | Tastaturkürzel

  • blechtram 3:44 pm am January 24, 2020 Permalink | Antworten
    Tags: Sex, Sex im Flugzeug,   

    Vignetten, Vol. 25 

  • blechtram 11:54 am am January 15, 2020 Permalink | Antworten
    Tags: gegessen,   

    Vignetten, Vol. 24 

  • blechtram 9:40 am am January 13, 2020 Permalink | Antworten
    Tags: Album covers, , Carmen Dell'Orefice, Dorian Leigh, Lonely Woman, Modern Jazz Quartet, Richard Heimann, Suzy Parker   

    Album covers: People in the foreground, people in the background 

    This is a „failed project“ entry, up to this point anyway. I wanted to pick up a new hobby here, which would consist in researching, identifying and collecting people on album covers that are not the musicians themselves. Now, I knew that this in some cases would be easy: Some covers use famous models which are known, like Jerry Hall on the cover of Roxy Music’s Siren.

    Other cases are more obscure, but some covers and bands are so famous that every detail about them is already researched, as is the case for Paul Cole, an American tourist who happened to be there on the right in the background when the Beatles took the Abbey Road cover. By his own account, he didn’t even know who the Beatles were at the time.

    So I started sorting through my record collection and the first interesting fact is simple but telling: For about the first decade of commercial vinyl-Lps, there were basically no models on album covers other than the musicians. Covers were either impersonal artworks or featured the musician(s). Now, this is from a small sample and probably genre-skewed – I own mostly blues and jazz records from that period, only some commercial pop and classical, so I don’t know exactly how the chips fall there. But the first album in my collection to properly sport a human being that isn’t playing on said record turned out to be Lonely Woman (1962) by the Modern Jazz Quartet.

    Now, how do you go about identifying that woman? The photographer is credited: Richard Heimann. Not a lot of information about him, but he seemed to be a glamorous guy in a glamorous world marrying and photographing glamorous models. The little information available really gives off this kind of Frank-Sinatra-movie-character.

    If Richard Heimann took that picture, who is the model? I don’t know and I didn’t find out. There was a possible clue: He was married to Carmen Dell’Orefice from 1958–1960, the „oldest working supermodel“ in the business, as I learned. Actually, most of the information you find about Heimann stems from this marriage or interviews with Dell’Orefice, because she became super-famous, he didn’t. So this was at least a clue, and I looked at some of Dell’Orefices portraits before 1962. Here’s one from 1956:

    Same style, but that’s just the general model look from that period. But it isn’t quite the same woman, is it? I tried to contact Dell’Orefice’s agency to confirm or at least deny that it is her on the album cover, but I couldn’t even get a proper contact address. At this point, the „research“ turned into random rummaging. Dell’Orefice was friends with another famous model from the time, a certain Suzy Parker. Now, Parker looks more like the woman on the cover, I think.

    But it’s still just a basic guess – hair style and make up lead to a pretty homogenic look of the period. And I couldn’t find a picture of Parker that really convinces me – the one I picked here is the closest one, and it hardly fits the purpose of comparison. And, looking at coloured photos, she seemed to have reddish instead of dark hair most of the time.

    Anyway, Suzy Parker was the sister of an even more famous model of the period, „the original supermodel“ Dorian Leigh (Parker). Let’s put some portraits next to the cover in question:

    Well, it’s anyone’s guess. I’m a bit amazed at the homogenic style which probably goes for any period, but I have no idea who the model on the album cover is. The exercise stops here, at least until I am in a mood to try to find out if there is something like a Richard-Heimann–archive, which I didn’t find through official channels. And this is probably also the start and finish of the whole project. Who could’ve known. Another story of shame and misery.

    And, well, feel free to contact me if you know anything about this.

  • blechtram 3:49 pm am January 10, 2020 Permalink | Antworten
    Tags: Glasplatte,   

    Kunst im öffentlichen Raum, Vol. 12 

    Vol. 12, Basel
  • blechtram 1:10 pm am January 8, 2020 Permalink | Antworten
    Tags: Career,   

    Vignetten, Vol. 23 

  • blechtram 8:38 am am January 6, 2020 Permalink | Antworten
    Tags: Mitbestimmung,   

    Vignetten, Vol. 22 

  • blechtram 4:31 pm am January 5, 2020 Permalink | Antworten
    Tags: Johann Christian Krüger, , , schwarz,   

    Toller Ausdruck der Woche: Jemandem nicht sagen können, wie schwarz aussieht 

    Fundort: Sonnenfels, Joseph von: Briefe über die wienerische Schaubühne. Brief vom 11. Juny 1768.

    Der Ausdruck bedeutet ungefähr: Etwas nicht erklären oder beschreiben können, das eigentlich ganz offensichtlich und einfach zu sein scheint. Sonnenfels hat das nicht selbst erfunden, seine eigene Quellenangabe führt zu einem einigermassen zeitgenössischen Stück von Johann Christian Krüger (1723–1750), Der blinde Ehemann (genaues Datum unbekannt), in dem ein gewisser Crispin buchstäblich daran scheitert, die Farbe schwarz beschreiben zu können.

    Krüger, Johann Christian: Der blinde Ehemann, erster Aufzug, erster Auftritt.

    Ein recht alltägliches Stück Epistemologie, aber immerhin praktisch für schnoddrig-ärgerliche, unsympathische Abwürgungen von Unterhaltungen: „Ich kann dir halt nicht erklären, wie schwarz aussieht!“

  • blechtram 9:40 am am January 4, 2020 Permalink | Antworten

    Kunst im öffentlichen Raum, Vol. 11 

    Vol. 11, Bern
  • blechtram 2:57 pm am January 2, 2020 Permalink | Antworten
    Tags: Michael Ballack,   

    Vignetten, Vol. 21 

  • blechtram 10:56 am am December 29, 2019 Permalink | Antworten
    Tags: Alkove, , ,   

    Kontige Objekte: Kunst in der Alkove 

    Irgendjemand hat fast den ganzen Sommer 2019 diese Alkove als Installationsplätzchen für Readymades benutzt. Ich habe nur einige wenige photographisch erwischt. Insgesamt tippe ich auf ein gutes Dutzend verschiedener Objekte, die ich da gesehen habe.

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