Guide Questo è il mio stile (Gli emersi narrativa) (Italian Edition)

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To acquaint the public with the origins of his work, some of his most famous works produced between and will be exhibited as well, including portraits of stars in the music, fashion and film worlds, as well as scenes with surrealist touches based on religious themes and quotes from important works in the history of art and cinema. Nella grande hall del Palazzo delle Esposizioni tutti lo aspettano, calamitati dalla grande opera The Deluge, affresco fotografico ispirato alla Cappella Sistina.

Dopo di lui il diluvio. La mostra si concentra ma non solo sui lavori che LaChapelle ha realizzato dopo il , anno spartiacque della sua produzione artistica.

Self Portrait as House appare come una visione si direbbe freudiana tra le sale di Palazzo delle Esposizioni a Roma, dove il fotografo David LaChapelle ha appena inaugurato una grande retrospettiva. Why prolong the inferiority complex about art? What happens when you combine the talents of Russia's ballet bad boy Sergei Polunin, Irish gospel luminary Hozier and photography pop wizard David LaChapelle? Apparently, a whole lot of angsty, sexy, beautiful dancing ensues. LaChapelle directed the new visual interpretation of the Grammy-nominated hit, starring British Royal Ballet vet Polunin performing choreography by Jade Hale-Christofi.

The white room clashes with the dark energy of the bluesy song, making Polunin's stunning dance moves resemble some kind of spiritual possession. L'esposizione si intitola Land Scape e consiste in immagini di raffinerie petrolifere virate in colori pastello. Se guardi queste immagini da lontano, sembrano reali. Sono foto ritoccate al computer? Fai ancora qualche passo avanti e riconosci i singoli pezzi che le compongono. Molte immagini che hanno come tema l'ecologia sono sgradevoli da guardare.

Io uso il colore. Abbiamo appena incontrato per caso Sophia Loren, a pranzo con un amico. Pharrell, Michael Jackson. Michaelangelo: an absurd combination, perhaps, but these are the people inspiring David LaChapelle in Looking through the surreal images of iconic excess and grotesque in his expansive portfolio many of which are familiar for their controversy as much as their style. I was unsure of what to expect as I dialled the Los Angeles number.


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Yet as the smooth drawl, verging on the hypnotic, travelled down the line, I was drawn into the LaChapelle stream of consciousness. And for the hour spent speaking with the Rene Magritte of the photography world, it all seemed to make perfect sense These shining cathedrals of power are not what they seem. His is a visionary and wholly artificial world, capable of seducing and confusing, often all at once.

LaChapelle, 51, secured his break in after patronage from Andy Warhol. One critic notes that LaChapelle blurs distinctions between photography and painting.

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The bounties of beauty, as codified by Renaissance artists, the Pre-Raphaelites and popular 19th-century illustrators, is here earnestly naked. Yet the nudity also signifies innocence cleansing, spirit. In fact, the body becomes a symbol for transfiguration between earth and spirit. Like the shakers or other late 19th century adherents of spiritual revival the figures here are never idle, though neither are they demonstrative.

Stripped of austerity they gracefully become a basic element. The subject becomes the alchemy of transformation. Despite being criticized for being too commercial, offensively provocative and grotesque, David LaChapelle is an essential figure in photography, having been wildly successful working with the biggest names in the entertainment and fashion worlds, contributing his exuberant ideas, boundless creativity and distinctive style. Constructing decadent sets, he staged his models against baroque and delirious backdrops to produce visually-compelling images, each unique in their narrative and evocative content.

He has the ability of making his subjects push their characters yet brings across his point with stereotypes associated with their image. Remember when VHS copies of Hellraiser were turning up on bus shelters? Cult American photographer David LaChapelle is at it too now. He's eschewed typical practice and opted to exhibit some of his latest work outside the confines of a gallery and where everyone can see them: the tops of bus shelters in the middle of London.

Ten photographs from his new show Land Scape are currently sitting pretty on bus stop roofs between Aldwych and Trafalgar Square. The exhibition is the result of a collaboration between Annin Arts and Transport for London, which gave a similar platform to another iconic photographer, Juergen Teller, in February this year. Yes, going to art exhibitions can be food for the mind and a treat for the eyes.

But what if you could soak up some culture as you commute around the capital? Works by one of the world's most famous photographers have gone on display on the top of bus stops in central London. Images by David LaChapelle show glowing landscapes made from everyday objects such as hair rollers and tins cans.

The photographer is famed for his work with pop artists including Michael Jackson, Britney Spears and Madonna. The exhibition, which can be seen by people on the top deck of buses, is part of Transport for London's TfL celebration of the Year of The Bus. Landscapes runs from 12 - 22 September.

The pictures are of handcrafted scale models which are constructed from such items as drinking straws. Leon Daniels, TfL's managing director of surface transport, said: "Public exhibitions are a great way of making art available to everyone. The photographs were created using scale models made out of everyday objects, and are designed to be viewed from the top deck of a double-decker bus enabling the everyday commuter to become the viewer of a piece of public art whilst travelling to their destination - if they perceptive enough to spot the work.

Again and again he also quotes themes from the Bible, as when he shows rapper Kanye West as Jesus with a crown of thorns. Flaunt's 15th anniversary issue. Art cover and editorial featuring stills from the short film "Evening in Space," directed by David LaChapelle featuring Daphne Guinness in collaboration with renowned music producer Tony Visconti.

Austria's far-right guys took it upon themselves to show us "what a real woman looks like. Today we've got prolific photographer David LaChapelle kicking things off but check back here for more throughout the series. He seduces the viewer with glamour — hallucinogenic lighting, neon colours, surrealist props and an elaborate set — but on closer inspection, his pictures reveal underlying cultural messages about spirituality, sexuality, religion and politics.

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Stolen Child

Ecco il nostro reportage dell'incontro milanese con David LaChapelle. Not at all. An ambassadress of tolerance who reminds us that true beauty knows no gender. Garden of Eden. The green grass glistens with nectar. A delicate pink cloud floats through the branches.

Its allure is irresistible.

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The warm light of a bizarre standing sun shines out from somewhere. This is what dusk must be like on Venus. At the heart of the scene, a goddess.

She doesn't say anything, but rather lets her body speak. Somewhere a hungry animal makes a clicking sound. With each click, the creature's appearance changes. A short distance away, a man is crouching in deep concentration. He appears calm on the outside, but is full of wonder, like a small child.

You can see it in the pupils of his eyes. Celebrating Androgyny David LaChapelle's photographs of men - young men - have always struck me as a celebration - and one that I somewhat wistfully enjoy - of the charm and the posing self-consciousness of youthful masculinity. The body almost never looks worked out. Still, it's never soft: always lean and tight, the kind of casual, confident torso only a college boy, one thinks, with good genes and high metabolism, could have. The stomach is taut, often more so because the model is stretching back or up - as if to show, with no real hauteur , just how casual and confident a young man's body can be.

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And there's often an impassive, not quite cocky, look on his face. These are the pictures I've come to expect from LaChapelle, the kind he often publishes in Christopher Street and the Native. There are some like them in his show Good News for Modern Man. There are also surprises. If most of his men are rigid, statuesque, eminently physical, his female nudes are each an instant in a flowing vision. South Runs through April 25th, Die Mode hat er hinter sich gelassen, aber nicht die Welt des Glitzers und Glamours.

Es ist das Pink von Barbie und von knappen Tanktops. Die vergangenen Tage hat er in einem Rausch aus Life Ball, Partys und Pressekonferenzen verbracht, und noch immer ist er ziemlich aufgekratzt. His work is magnetic; you can not help be attracted to its glitter and vibrancy. Standing in-front of what first seems to be a selection of oil refineries, magically glowing against a vast open space or infinite sky, you are riveted.

The architecture manifests like beautiful shrines - modern temples of consumerist worship. The seduction is overwhelmingly compelling, like a child standing for the first time at the gates of Disneyland- blissfully unaware of the financial systems such a place comprises. Er glaubt, dass die Welt am Abgrund steht, speziell seine Heimat Amerika. Dann sah ich auf meinem Computer diese Oma mit der Spraydose und wie stolz sie auf ihre Aktion war.

Wir lachten. Ich verstehe nicht, was an diesem Plakat so provozierend ist. The artist has found inspiration in the act of recycling, creating small models of oil refineries using all kinds of discarded packaging and rubbish — egg cartons, drink cans, soup tins, drinking straws, cut-up cardboard — photographed in the studio or before real life backdrops, such as a skyline in California.

The results are relatively convincing, and it takes a moment before one begins to notice the artificiality. From their towering chimneys shoot flames that explode like fireworks in the evening sky. She is reclining, eyes shut, on a chaise longue wearing a sculptural gold metallic minidress. Bizarre, surreal, sensual: yes. Gritty reportage: no. I was struck by its power.