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J.G. Ballard on Pornography and Sexuality

“Normally, traditional sexual activity involves a sort of warm bath where physical activity and a world of mental affections blur into each other, and give rise of course to a huge number of problems. (…) He sees pornography, which is emotionally neutral — pornography is sex with the emotions deleted — pornography is a useful technique for exploring what exactly is going on when two people copulate, when a penis enters a vagina, when a hand embraces a breast, when fingers explore clefts (which are obviously geometric structures which powerfully cue innate responses laid down in the central nervous system a hundred thousand years ago). Pornography is a way of dismantling all the excrescences that have grown around this sexual activity at its most basic, and finding the actual sort of operating elements.” -J.G. Ballard, interviewed by Jonathan Weiss in 2006, commentary track on The Atrocity Exhibition (via Ballardian)

Wim Delvoye, ‘Blow 1’ 2001
See also: Ballardian: The fusion of science and pornography, and Atrocity Exhibition
Also also: Wim Delvoye, ‘Gothic Works’ (x-rays as stained glass cathedral windows)

Wim Delvoye, ‘Blow 1’ 2001

See also: Ballardian: The fusion of science and pornography, and Atrocity Exhibition

Also also: Wim Delvoye, ‘Gothic Works’ (x-rays as stained glass cathedral windows)

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The Cramps - ‘Strychnine’ 1980 (purchase)

From Siege’s Summer of 17 mix, songs that were on heavy rotation in my Camaro the summer after I dropped out of high school.

See also: The Cramps play live for mental patients at the Napa State Hospital 1978 (which, amazingly, is on DVD now)

Leonardo Vilela, goat as poodle for Volkswagen ad, Brazil (via i believe in advertising)

Leonardo Vilela, goat as poodle for Volkswagen ad, Brazil (via i believe in advertising)

Real Rebels Risk

“The next real literary “rebels” in this country might well emerge as some weird bunch of anti-rebels, born oglers who dare somehow to back away from ironic watching, who have the childish gall actually to endorse and instantiate single-entendre principles. Who treat of plain old untrendy human troubles and emotions in U.S. life with reverence and conviction. Who eschew self-consciousness and hip fatigue. These anti-rebels would be outdated, of course, before they even started. Dead on the page. Too sincere. Clearly repressed. Backward, quaint, naïve, anachronistic. Maybe that’ll be the point. Maybe that’s why they’ll be the next real rebels. Real rebels, as far as I can see, risk disapproval. The old postmodern insurgents risked the gasp and squeal: shock, disgust, outrage, censorship, accusations of socialism, anarchism, nihilism. Today’s risks are different. The New Rebels might be artists willing to risk the yawn, the rolled eyes, the cool smile, the nudged ribs, the parody of the gifted ironists, the “Oh how banal.” To risk accusations of sentimentality, melodrama. Of overcredulity. Of softness. Of willingness to be suckered by a world of lurkers and starers who fear gaze and ridicule above imprisonment without law.” —David Foster Wallace in ‘E Unibus Pluram:  Television and U.S. Fiction’ (via Mer)

See also: Dave Hickey distrusts the very idea of high art in a democracy

Elad Lassry, ‘Red Cross’ 2008 (via le monochrome)
Based on this publicity photograph of Ann-Margret, which was sniffed out by the amazing reverse image tool TinEye, which you need to use.
See also: Elad Lassry, ‘Untitled (Purple Bar)’ 2009
Also also: Bert Stern, ‘Crucifix (Marilyn Monroe)’ 1962, and then Bert Stern recreates Marilyn Monroe’s ‘Last Sitting’ with Lindsay Lohan

Elad Lassry, ‘Red Cross’ 2008 (via le monochrome)

Based on this publicity photograph of Ann-Margret, which was sniffed out by the amazing reverse image tool TinEye, which you need to use.

See also: Elad Lassry, ‘Untitled (Purple Bar)’ 2009

Also also: Bert Stern, ‘Crucifix (Marilyn Monroe)’ 1962, and then Bert Stern recreates Marilyn Monroe’s ‘Last Sitting’ with Lindsay Lohan

Elad Lassry, ‘Untitled (Purple Bar)’ 2009 (via i heart photograph)
Based on this publicity photograph of Ann-Margret, which was sniffed out by the amazing reverse image tool TinEye, which you need to use.
See also: Fette: Richard Prince does Gary Gross doing pre-pubescent Brooke Shields

Elad Lassry, ‘Untitled (Purple Bar)’ 2009 (via i heart photograph)

Based on this publicity photograph of Ann-Margret, which was sniffed out by the amazing reverse image tool TinEye, which you need to use.

See also: Fette: Richard Prince does Gary Gross doing pre-pubescent Brooke Shields

Ari Marcopoulos, ‘Alice Temple, New York City, 2008’ (via, via)

Ari Marcopoulos, ‘Alice Temple, New York City, 2008’ (via, via)

William Christenberry, (top) ‘Red Building in Forest, Hale County, Alabama, 1983’ (bottom) ‘Red Building in Forest, Hale County, Alabama, 1994’ (via)
See also: Tauba Auerbach, ‘Stacking (YES), Stacking (NO)’ 2007
Also also: my grandparents shotgun shack in New Orleans in 1972 and 2006

William Christenberry, (top) ‘Red Building in Forest, Hale County, Alabama, 1983’ (bottom) ‘Red Building in Forest, Hale County, Alabama, 1994’ (via)

See also: Tauba Auerbach, ‘Stacking (YES), Stacking (NO)’ 2007

Also also: my grandparents shotgun shack in New Orleans in 1972 and 2006

Christopher Saunders ‘The WhiteNoise Suite no.4’ 2008 (via Rachel)
See also: A few thousand feet above Manitoba
Also also: Power lines, sunset, partial moon
Also also also: Ian Francis

Christopher Saunders ‘The WhiteNoise Suite no.4’ 2008 (via Rachel)

See also: A few thousand feet above Manitoba

Also also: Power lines, sunset, partial moon

Also also also: Ian Francis