Observe. Slow Down. Shoot. Submit.
Friday, August 29, 2014
Tuesday, August 26, 2014
Dog Day Afternoon
In celebration of National Dog Day (no! we are not calling kate names), I wanted to highlight one of our favorite August submissions to the www.ishotkatemoss.com collage - this from a one Ms. Kristin Barbato:
When we emailed Kristin she told us the tail (let's see how many bad dog puns we can get into one blog post): "During our walk, my French bulldog, Titus, was drawn to the sticker of Kate affixed to the base of the lamppost. Despite being mostly blind, he walked right up to her and after a few contemplative sniffs, decided the best way to honor her presence was to relieve himself right on the picture. Unfortunately due to my convulsive laughing, I was unable to get the camera ready fast enough for that photo op. But I did manage to get his satisfied expression afterward."
So rather than spending your hard-earned bucks on something involving kate (really who needs more clothes, perfume, magazines, lipstick, cigarettes, apparent sex appeal or champagne coupes?) go and adopt a dog or donate to a local shelter. Instead of throwing away $s on heels, teach a pup to heel. Buy a dog treat or toy for your favorite pooch and revel in the joy of slobber.
So rather than spending your hard-earned bucks on something involving kate (really who needs more clothes, perfume, magazines, lipstick, cigarettes, apparent sex appeal or champagne coupes?) go and adopt a dog or donate to a local shelter. Instead of throwing away $s on heels, teach a pup to heel. Buy a dog treat or toy for your favorite pooch and revel in the joy of slobber.
 |
| Phew, got through that without referencing doggy style ... |
Observe. Sit. Slow Down. Roll Over. Shoot. Fetch. Submit.
Saturday, August 23, 2014
Let's nip this in the bubbly
NEWS OF THE DAY: kate moss has collaborated on a
champagne glass molded from her left breast
We scoured the on-line "press" to find and share some comments in response to the latest kate announcement - which iskm hates to admit but it seems as though it is being fairly widely covered ... slow news day (ISIS/ISIL, ebola and Ferguson MO obviously are all old news). iskm will spare you comments with Dolly Parton beer keg and Pamela Anderson soup kettle references but have selected a few we found insightful ...
- : What? Errrm, why? OK then, now I'm going to use my breast to shape an earthen pot.
- The original Champagne coupe is fabled to be modeled on Marie Antoinette's breast in the late 18th century ... Kate Moss has provided a modern update on the design. Or, it's just a shameless marketing ploy for big wigs; to smile as they titillatingly raise a glass to their lips?
Though this myth has been debunked, there have been very real drinking vessels based on famous ladies' chests e.g. in 2008 Dom Perignon created, with the help of Karl Lagerfeld, a serving bowl inspired by model Claudia Schiffer's breats. By a quirk of fate, it just so happens that apparently there is also a coupe based on Lee MIller's breast (some kate fanatic must have read the last iskm blog entry and been inspired!)
- VK7: Kate Moss is happy to be associated with Marie Antoinette, a woman who lived in luxury off the poverty of people starving ...
C'mon VK7, let kate eat her cake ... she
explained: ''I was excited to participate in this project - what an honor to
be alongside Marie Antoinette - she was a very intriguing and mischievous character …"
- Disappointed not to see some illustrative shots of the mold-making process.
- Asherware: The super rich and privileged sure do live in la-la land.
The
restaurant describes the so-called coupe as an "intricate abstract design
reminiscent of Art Deco symmetry which, when held at an angle, shows a
beautiful curvy shape."
- tomuchthought: A toast to Kate's 'curves'! I'm sorry ...where are they??
- louise: I mean yeah, this has definitely been photoshopped ...
Furthering this conversation, 'journalist' Nancy Mattia states on people.com within the Great Ideas section: "We wonder if Moss’s overlooked right boob will be staging a protest."
Oh Nancy ...
Oh Nancy ...
You want insightful and thought provoking analysis, I refer you to spraycan and des:
- spraycan: Whose left testicle did they mold for the shot glasses?
- Great idea. I am going to use my tackle to make a double egg cup holder ... Might put me off my breakfast
All this got us thinking, who are the boobs in this latest sorry ordeal?As we fell to the ground in fits of laughter while reading such observations and struggling with such deep thoughts, another comment came to the fore:
-
A bottle of bubbly for the first person to send a submission to www.ishotkatemoss.com, taken through, or involving, a coupe glass.Observe. Slow Down. Shoot. Submit.
Monday, August 18, 2014
A man, kate and some rays
As the sunshine streamed through window panes here in NY, I walked past super glossy images of kate from the fashion publishing press and was struck by the fact that a natural course of solarization was hitting my eyes ...
Solarization is the phenomenon in photography in which the image is wholly or partially reversed in tone (so that dark areas appear light or light areas appear dark), if either the negative or the photographic print is exposed briefly to
light during the processing procedure.
The technique was made famous by Man Ray after it was accidentally discovered in his darkroom. The story, as I understand it, was that while Lee Miller was assisting Man Ray a mouse ran
over her foot during the exposure of a negative. Startled she screamed and turned on the light, completely forgetting
about the work she was doing. In hopes of saving the prints Man Ray quickly turned off the light and tossed the images into the fixer. This exposure interrupted
the process causing a dramatic aesthetic effect and rather than discard the pictures, the result was
savored and then perfected through numerous experiments seeking to control and harness the technique's beauty.
Given the reaction to Plexi Glass Tears/Les Larmes de Verre iskm thought more honoring of Man Ray was in order, using transparencies (yes, they still make slide film) to see what could be created naturally with just a few photos and some summer rays. As a result, the following images have recently been added to the www.ishotkatemoss.com collage:
 |
| An example of Man Ray's work |
 |
| Lee Miller solarized by Man Ray |
Given the reaction to Plexi Glass Tears/Les Larmes de Verre iskm thought more honoring of Man Ray was in order, using transparencies (yes, they still make slide film) to see what could be created naturally with just a few photos and some summer rays. As a result, the following images have recently been added to the www.ishotkatemoss.com collage:
And just like Man Ray ...
Observe. Slow Down. Shoot. Submit.
(well, he never submitted, but we wish he had!)
Tuesday, August 12, 2014
Rejection ...
... from an important and subversive photographer I greatly respect, after sending an invitation to add his voice to the www.ishotkatemoss.com collage, particularly relevant given that he used to be - in his words - part of fashion's "swirling narcissistic world":
"to give notice whether symbolically negative or positive is to signify……. my comment on the property is not to.,,,,, so it is significant that i remain in the outer banks of concern,,,
the answer is no…."
We here at ishotkatemoss, of course, agree that this (our) "culture", as represented by kate - its apparently inextinguishable flame - requires no form of validation.
Using what is put in front of us continually in order to create a message through interpretation of her, the work of those that use her and the way we see the ever-changing representation of her and us (as participants, consumers and viewers) is the point.
By not shining a light onto it, iskm is scared that only the supposedly positive signals are sent out into our ever looking world. So while I completely respect the individual's decision to not signify, someone has to hold up the carnival house of mirrors ...
"to give notice whether symbolically negative or positive is to signify……. my comment on the property is not to.,,,,, so it is significant that i remain in the outer banks of concern,,,
the answer is no…."
We here at ishotkatemoss, of course, agree that this (our) "culture", as represented by kate - its apparently inextinguishable flame - requires no form of validation.
Using what is put in front of us continually in order to create a message through interpretation of her, the work of those that use her and the way we see the ever-changing representation of her and us (as participants, consumers and viewers) is the point.
By not shining a light onto it, iskm is scared that only the supposedly positive signals are sent out into our ever looking world. So while I completely respect the individual's decision to not signify, someone has to hold up the carnival house of mirrors ...
 |
| An original, unadulterated image of kate as shot by Corrine Day |
Observe. Slow Down. Shoot. Submit.
Friday, July 25, 2014
Why we look
I am actually getting tired of being shocked seeing kate "walking down the street" towards me ...
but yesterday, this gentleman's faded, holey and accessorized chest was just too good to pass.
Here was the complete package:
And two additional close-ups, added to the www.ishotkatemoss.com collage, which - in iskm's esteemed opinion - are more relevant statements (as to fashion, art and beauty) than anything found in an overpriced glossy magazine:
The original cover (Interview Sep. 2013) Observed:
Slowed Down. Shot. Submitted.
Tuesday, July 22, 2014
Photographer Series #10: jeffreyshotkatemoss
Jeffrey Rothstein trained in fashion photography as an
assistant to Richard Avedon, Bruce Weber, Kei Ogata and Dominique Issermann.
His first professional assignment was photographing Jean-Paul Gaultier in his
Paris studio as he documented the creation of his collections. He then went on
to work for Condé Nast, shooting from the streets of NY and Paris, to the
beaches of the Caribbean. His fine art photography is on display in a number of
major public buildings, is held in private collections and has also been
featured in numerous films and television series.
ishotkatemoss was interested in how Jeffrey would
approach kate as there seemed to be a constant sexual dialogue running through
his art, even the over-stylized, hyper-saturated images he creates from
landscapes and nature are rich in overtones …
Jeffrey Rothstein (JR): My work has always been covertly or overtly about sex, sexuality and
all things sensual - whether it be luxe vivid colors or directly in my
pixilated erotica work. Humans are sexual creatures and a great deal of art and
20th Century photographer has been an expression of sex in some form or
another.
iskm: How do you feel your approach to photography/art making affected your submission to ishotkatemoss?
iskm: How do you feel your approach to photography/art making affected your submission to ishotkatemoss?
 |
| St Barts from Rothstein's 'Pixilated Nudes' series |
I've
had a Tumblr account for 4 years now and wanted to see how to riff, visually
sample imagery into new thoughts and even make little jokes. The new series I
am creating use my own iphone images with found, public domain, appropriated
images and digital images that are all over the interwebs. By doing so, I want
to make fun of the serious "ART" world and appropriate the
appropriators. Plus there is a huge sexual component and library of images, which goes back to comic books, earlier porn and imagery that has been around
for seemingly ever.
Here is Jeffrey’s submission that has just been added to the www.ishotkatemoss.com collage:
 |
| Jeffrey Rothstein's Desire has its costs, 2014 |
iskm: Can you explain your approach to kate, what
you are doing and why?
JR:
There are too many iconic Kate fotos - I wanted to more make a collage, an
impression of The Kate (from here on in she will be addressed as "The
Kate") - that is sexy, carnal, distant but edible - perhaps secret or not
too secret desires we all have towards her. Fashion is about selling sex ...
she has been "the brand" that brands go to and for, for decades. The
Kate is a assemblage of many impressions over time, images we have of her and
the culture ... one is not enough of The Kate but like Chinese food you want
more of her in 45mins. The Kate is a cipher, an impression of a woman, of a
particular kind of sexuality that can and wants to be dominant and dominated at
the same time but is unattainable.
iskm: How/why did you select the source image/s
that you did?
JR:
Random interwebs searches and knowledge of Kate as a phenom since she was but a
wee babe in the woods. The non-Kate images in my collage are from the the net - some are very retro and from the 80's, others are Tumblr porn.
iskm: You are the first male who iskm is featuring
to specifically look at the idea of sexual identity with, and through, kate. From
a man’s perspective, do you have a take on why she has been positioned,
photographed, represented and/or used as such a sexual being and presence in
this way?
JR:
Oh, where to begin. This is this the basis of a post-doc thesis. But to
summarize as best I can given the limited horsepower I have under my hood ... Fashion
is about desire - the desire to own, to have, to covet that which is almost
unattainable - that expensive Hermes scarf, the LV bag, the Gucci shoes. They are
all affordable to some degree to the general public. These businesses, such as LVMH and
Prada, want you to own their stuff but want you to feel special in the act
of buying it. The Kate is the high priced call girl that makes you feel like
you are the only one and when you pull the trigger, make the purchase, it's the
big orgasm.
iskm: What is it about her?
JR:
The Kate is a very odd and unusual aspect of our current global culture. Tied
to and created by the fashion world she has transcended and transformed in to a
cultural touch stone in the same way perhaps as Jane Birkin did in the 60's
though without the inherit musical talent and famous boyfriend - I don't think
Pete Doherty is comparable to Serge Gainsbourg. Nor does she have the posh
English pedigree that Birkin has but nevertheless The Kate is more than a
Hermes handbag. The Kate is ambiguous, almost neutral in a way that anyone can
imprint their own desire and fantasy on her; which is I believe is the trick to
her longevity. The Kate is a blank sheet. The Sphinx of the fashion world.
iskm: Which photographer/s would you most want to
most see involved in ishotkatemoss?
JR:
My thoughts about a direction … The Kate is beyond but yet inexorably linked to
Fashion and it's odd, strange components. I'd say an artist who is good at
reiterating culture and making some thing new of it. The Kate is like a new
car you get every year: This Year's Model is a little different but all the same
in a comforting way. I'd suggest Murakami. The Kate all is a "brand"
regardless of who uses her. I can see murals and sculptures of her in a very playful
way.
iskm: Thanks Jeffrey! I am now dreaming of having Murakami
join us by creating an iskm handbag. I think that being able to buy a knock-off on Canal St. for $5 would be iskm’s crowning achievement!
JR: My
pleasure. Creating something specifically with The Kate was easy fun,
enjoyable, and spontaneous.
Jeffrey’s work can be seen at www.jeffreyrothstein.com
and he has just joined the
Kasher/Potamkin gallery so keep an eye out for his upcoming exhibitions there …
maybe The Kate will be featured?
Observe. Slow Down. Shoot. Submit.
Friday, July 18, 2014
où est l'kate?
A Parisian holiday from kate quickly turned into some long walks with her:
Observer. Ralentissez. Tirer. Envoyer.
Tuesday, July 8, 2014
Button it
And while we are talking t-shirts, have a look at Eric Grimm's recent submission to www.ishotkatemoss.com:
While I think this is hilarious, my only disappointment was that the belly button wasn't an outie ...
So if you happen to see kate, or something akin to her, poking out at you ...
Observe. Slow Down. Shoot. Submit.
Sunday, June 29, 2014
Walking down the street
... when ishotkatemoss:
... but steveworekatemoss
If you are shocked to see kate walking down the street ...
 |
| "People are a bit shocked to see me walking down the street" - kate moss |
Observe. Slow Down. Shoot. Submit.
Wednesday, June 25, 2014
Photographer Series #9: lynnshotkatemoss
And now we return to our regularly scheduled www.ishotkatemoss.com programming ...
Fine-art
photographer Lynn Saville specializes in photographing at twilight and dawn, or as she describes it, "the boundary times
between night and day". Her photographs are published in two
monographs: Acquainted With the Night (Rizzoli, 1997) and Night/Shift
(Random House/Monacelli, 2009). She is represented by Yancey Richardson
Gallery in New York and is included in many major permanent collections.
 |
| Street Corner - Brooklyn |
Lynn roams, what she terms, “limbo regions”, places
she believes to be one
of our last frontiers. Spaces that seem unloved and overlooked, cracks in the
urban façade. In Lynn’s own words: “When I discover a site that attracts me, I
return to it at dusk. In this liminal period, natural light gives way to
streetlight, moonlight, and window light, as well as advertisement and
surveillance lighting.”
Several
years ago Lynn was lured back to the central areas of NYC, where
economic turmoil produced its own gaps in the façade - vacant stores whose
glowing windows in which she saw a resemblance to a Rothko painting. Her latest
series, Vacancy: The Disquieting
Beauty of Emptiness, began
as a response to the effects of The Great Recession, and the pictures capture
shuttered stores and abandoned spaces, seen at transitional hours.
So
how would Lynn interpret kate, we wondered? Was kate a “disquieting beauty”
too?
 |
| Lynn Saville's The Terrace Bridge + Kate, 2014 |
iskm: What did you do to your chosen kate moss image and
why?
Lynn Saville (LS): I wanted to create a
photograph in which her image engages in a quiet and timeless way. I took a
tiny portion of a picture I had taken of Kate Moss glowing at twilight and transferred
it electronically to my portable projector. I then brought the projector with
me as I visited some of my special locations.
 |
| Lynn's source image of a billboard in NOLITA |
iskm: How/why did you select the source image that
you did?
LS: I was fascinated with a billboard image of Kate near a gas
station in NOLITA. I liked the
way she looked out over Houston Street and the fact that she was reclining gave her direct and open
gaze a sense of curiosity and intimacy. I also liked that it was a black and white image, as I primarily work in color. Given how I
was planning on creating my submission, this source image would then contrast with the
place I decided to take the final photograph.
iskm: Why did you feel the need to project the image
rather than simply work with an established picture of kate?
LS: I feel that in a sense Kate cultural/fashion
presence lingers in my imagination even when I'm in spaces I photograph.
I felt it would be interesting to experiment with projecting a part of her
image in a place one wouldn't ordinarily actually see it.
iskm: How and why did you choose the location that you did? Is it a church
or a synagogue?
LS: The place I chose was under the Terrace Bridge in Central Park. The
arcade reminds me of the Alhambra in Spain ... Olmsted and Vaux combined
Moorish, Romanesque and Classical influences ... the place is almost religious
in its meditative spirit. I wanted to show the timeless quality of Kate's
gaze in an unlikely urban setting and to show that in today's culture,
advertising media seems to be everywhere.
iskm: How do you feel your approach to photography/art making affected
your submission to ishotkatemoss?
LS: I have been experimenting with including
a figure or silhouette in my vacant urban landscape photographs. In the
past, a figure would unexpectedly intrude into my long exposure photograph when
a person would walk through the frame. I discovered that these ghostly
intrusions often added a poignant dimension to the image. Recently I began projecting a figure or face
into the space I photograph so as to be able to have more control and because
I feel that projections communicate a special importance from a culturally
historic perspective (such as slide shows and drive-in movies). I consider the projection as my own
enlarged screen or smaller billboard when used in a public place.
iskm: That is really interesting. Do you see the projected image playing
a new cultural role?
LS: We carry
around our smartphones and tablets so we are viewing our small screens
everywhere these days. We are therefore viewing personal, as well as
commercial, messages in public spaces. I'm using the projected image to
add a new size and dimension to the ‘portability’ of the image as I move the
image into a new place. It's almost a brief ‘tagging’ of a public
space with my idea. Now, after using a picture of Kate in this
way, I realize that I am also referencing the surprise of an unexpected view of
a commercial image. These images are everywhere, intruding on our
landscape and popping up on our computers so I'm gaining a sense of power by
putting it out there, where I want to see it, at least for a brief time.
iskm: Which photographer/s would you most want to most see involved in
ishotkatemoss?
LS: Jeff Wall, Thomas Struth and Gursky - all are iconic artists working in
photography at this moment in time. I feel that their "take" on
culture and landscape photography would be interesting to view in the context
of ishotkatemoss.
iskm: Thanks so much Lynn. We are so
incredibly thankful for your involvement.
LS: My pleasure. The iskm concept is fascinating from a variety of
perspectives. I liked the challenge of working with an icon like Kate Moss
when I usually think about icons like the Flatiron Building. The urban
landscape has many images of Kate Moss so it is natural to think of her image
in cityscape photographs!
More information about Lynn’s work can be found at www.lynnsaville.com and keep an eye out
for the monograph of her latest project,
Vacancy, which will be published by the distinguished Italian press Damiani, in
the fall of 2015.
And
just like Lynn walking through NYC at dusk or dawn ... Observe. Slow Down. Shoot. Submit.
Saturday, June 21, 2014
Desire and Disgust #13: Final Cut
Last but certainly not least, SVA student Nate Bass sliced and wove together his www.ishotkatemoss.com contribution:
Like a good secret, Nate's work is hard to find, so much so I have yet to locate his web site ...
Having now highlighted all of the SVA student's work individually, it dawned on me that I hadn't attempted to imply the strength of seeing all of the unique and various contributions together.
I was lucky enough to find this wonderful shot of SVA teacher Keren Moscovitch observing a collection of pieces, displayed during the critique. Although not all contributions are exhibited at once, this image begins to capture the intensity of looking at several interpretations of kate simultaneously.
The photo was taken by teaching assistant and prop stylist, Michelle Longo, whose work can be seen at www.michellelongo.com
I was incredibly honored that the iskm project was used by the class, taught by Keren along with Len DeLessio, and was also so pleased to participate in the final review. Most importantly, of course, keep an eye on the work and progress of the wonderful students!
At the end of the class, I was presented with the shreds of a "Kate Moss" book, signed by each student, containing remnants of images of herself that she had in fact originally chosen and curated:
It turns out that the students sourced their kate from this book, leaving me with half a book and plenty of remnants - like a trail of artistic evidence. I will treasure it!
So much so that if anyone out there in the blogosphere wishes to try their hand at observing, slowing down, shooting and submitting to www.ishotkatemoss.com, just like SVA students, please send an email to ishotkatemoss@gmail.com with your name & postal address. We will then send you as close to a complete page from the book for you to adulterate and photograph to your hearts content.
The postage is on us, anywhere in the world, so no excuses ...
Having now highlighted all of the SVA student's work individually, it dawned on me that I hadn't attempted to imply the strength of seeing all of the unique and various contributions together.
I was lucky enough to find this wonderful shot of SVA teacher Keren Moscovitch observing a collection of pieces, displayed during the critique. Although not all contributions are exhibited at once, this image begins to capture the intensity of looking at several interpretations of kate simultaneously.
The photo was taken by teaching assistant and prop stylist, Michelle Longo, whose work can be seen at www.michellelongo.com
I was incredibly honored that the iskm project was used by the class, taught by Keren along with Len DeLessio, and was also so pleased to participate in the final review. Most importantly, of course, keep an eye on the work and progress of the wonderful students!
At the end of the class, I was presented with the shreds of a "Kate Moss" book, signed by each student, containing remnants of images of herself that she had in fact originally chosen and curated:
It turns out that the students sourced their kate from this book, leaving me with half a book and plenty of remnants - like a trail of artistic evidence. I will treasure it!So much so that if anyone out there in the blogosphere wishes to try their hand at observing, slowing down, shooting and submitting to www.ishotkatemoss.com, just like SVA students, please send an email to ishotkatemoss@gmail.com with your name & postal address. We will then send you as close to a complete page from the book for you to adulterate and photograph to your hearts content.
The postage is on us, anywhere in the world, so no excuses ...
Submit ... to www.ishotkatemoss.com
Thursday, June 19, 2014
Desire and Disgust #12
While I cast a mossy eye over SVA student, Lena Nicholson's submissions to www.ishotkatemoss.com, I am reminded of her statement: "As I'm reflecting on this person, Kate Moss, she is reflecting on herself":
Just like SVA students ... Observe. Slow Down. Shoot. Submit.
For more of Lena's reflections visit www.lena.nicholson.net
Just like SVA students ... Observe. Slow Down. Shoot. Submit.
Wednesday, June 18, 2014
Desire and Disgust #11
Social documentarian, portrait photographer and SVA student, Philip Andrew Garber, commented that he was raised around newspapers. As such, the texture of the paper - and of kate - was an important consideration in his four pieces submitted to www.ishotkatemoss.com.
I found all four images to be striking and have enlarged one of his photographs so that you can truly see the detail:
Just like SVA students ... Observe. Slow Down. Shoot. Submit.
I found all four images to be striking and have enlarged one of his photographs so that you can truly see the detail:
Want more detail about Philip's work? Read all about it at www.philipandrewgarber.com
Just like SVA students ... Observe. Slow Down. Shoot. Submit.
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