My name is Torie Zalben. I work at the David Lynch Foundation where I produce and direct video content for the online YouTube channel DLF.TV. This incredible foundation provides the tool of TM to the homeless, veterans, prisoners, at risk women and youth, Quiet Time programs for students, and worldwide outreach. They are changing humanity and the world one meditator at a time with the utmost attention towards every individual. I admire the work they continue to provide and feel so fortunate to be part of something that has such a global impact on the consciousness of the population.
Currently the fifth annual benefit Change Begins Within is taking place this December 3rd. Co-hosts include David Lynch and Jerry Seinfield with honorees including Hugh Jackman, Debora-Lee Jackman and New York Fire Department Commissioner Salvatore Cassano. This event highlights the transformational work of the foundation and gathers influential individuals to help support their various causes. I am so inspired the foundation’s founder Bob Roth as he has always encouraged me to think outside of the box and utilize my talents to benefit the foundation and beyond.
Recent screenings of the documentary entitled Meditation Creativity Peace in alternative venues, indie theaters and music & arts festivals, the message of providing consciousness-based education and world peace with the 70 minute documentary film that follows David Lynch on a 16 country tour where he discusses his films, artistic process and the tool of transcendental meditation. I am looking how to get as many eyes as possible watching this doc with the hopes of inspiring viewers to learn this meditative technique.
My primary focus is documenting artists and their meditative practices as inspired by the use of Transcendental meditation in my own creative process as a video artist and filmmaker. I champion for the next generation of creatives to utilize this meditative tool. It is my belief that TM meditation can enable my peers towards spiritual advancement in this lifetime for future generations.
Additionally, I create video content for Manimal Group’s ManimalTV (their online YouTube channel that displays art, music and culture). Working with Manimal enables me to reach out to a variety of artists and create video content that introduces altered states of reality.
I believe art has the power to transform, and combined with meditative practices, I cannot begin to touch upon the change that can impact the world. I encourage readers to visit David Lynch Foundation Television and ManimalTV for past, present and future videos with the aim of inspiring creatives to introduce meditative states in their works and personal practice.
Recent videos include profile features on:
…Soon to be released DLF.TV profiles on:
“When you first meet her, she’s got enemy written all over her,” Jena Malone recently told us about Johanna, the character she plays in The Hunger Games: Catching Fire. “She’s violent and sexual and caustic and nefarious. But she has a big arch of friend or foe. But she’s fierce. What I really wanted to explore with her was learning anger. Anger has to be so genuine or it feels so fake, like a fake sneeze. So, the first week of shooting, I didn’t talk to anyone. I needed to have this intimidation factor. I had all this energy surging through me. She almost killed me. A month and a half in, I learned how to turn her off, but at first she was dangerous.”
Another way the 29-year-old actor blew off steam on the set of the blockbuster sequel was by indulging in one of her other passions, photography. Malone, who has her own website dedicated to displaying her photos, was kind enough to share some pictures she took from the Catching Fire set. But don’t expect any goofy selfies with Jennifer Lawerence, though. When Malone gets behind the lens, she doesn’t mess around.
When we profiled the weird and wonderful Japanese artist Yayoi Kusama last year, the interview was conducted over email and her cryptic responses were written by an interpreter. Kusama, who back then was promoting a collaboration with Louis Vuitton, chooses to live her life in a Tokyo mental institution, and rarely leaves its confines. Last night however, there we were, at Manhattan’s David Zwirner gallery, standing right next to the mystical, wheelchair-bound artist, as she led us on a tour of I Who Have Arrived in Heaven, her latest exhibition which runs until December 21. From the gallery:
Spanning the gallery’s three consecutive locations on 19th Street in Chelsea (519, 525 and 533 West 19th Street), this exhibition will feature over thirty new large-scale paintings. Other highlights include the presentation of a new mirrored infinity room made especially for this exhibition and the United States debut of another infinity room, which was recently on view in Tokyo at the Mori Art Museum. Also exhibited will be the artist’s video installation, entitled Manhattan Suicide Addict, that draws its title from her first semi-autobiographical novel published in 1978. This is the artist’s first exhibition at David Zwirner since joining the gallery in early 2013.
Say hi to Yayoi above. She’s saying hi to you.
Photography by James Orlando
If there’s one thing we can’t get enough of as a culture it’s #TBTs, particularly when it’s people we don’t know, because then we can pretend that we never looked this goofy and sartorially hapless ourselves. Michael Galinsky’s new book Malls Across America gives us a glimpse into one of the darkest periods in our nation’s history, the 1980s mall scene. It wasn’t pretty.
Throughout the 1980s, as America’s downtown districts declined in importance and the “big-box” stores began their slow march across the country, malls became increasing central to American popular culture, dominating the social life of a large swath of the population. In 1989 Michael Galinsky, a twenty-year-old photographer, drove across the country recording this change: the spaces, textures and pace that defined this era.
Starting in the winter of 1989 with the Smith Haven Mall in Garden City Long Island, Galinsky photographed malls from North Carolina to South Dakota, Washington State and beyond. The photos he took capture life in these malls as it began to shift from the shiny excess of the 1980s towards an era of slackers and grunge culture.
Malls Across America is filled with seemingly lost or harried families navigating their way through these temples of consumerism, along with playful teens, misfits, and the aged. There is a sense of claustrophobia to the images, even in those that hint at wide commercial expanses – a wall or a ceiling is always there to block the horizon. These photos never settle or focus on any one detail, creating the sense that they are stolen records of the most immediate kind.
For most of us, having our teenage years photographically documented would be unpleasant. Having them documented by our mother would be a nightmare. That is precisely the reality faced by the teenage sons of Martine Fougeron. For her long-term series, Teen Tribe, the French photographer documented her two sons through all the triumphs and pitfalls of their formative adolescent years. By developing certain practices over time, the photographer succeeded in capturing the impossible: unguarded moments in her sons’ adolescence, which generally occur outside the prying eyes of parents. This September, the project could be viewed in its entirety for the first time at Gallery at Hermès and in an accompanying book, published by Steidl.
Though her children were the primary subjects, Fougerson wasn’t interested in the specifics of their lives in particular. Instead she was looking to draw a larger picture of the experiences shared amongst all youth. “I was after the ‘eternal adolescent,’” the artist explains. “I was interested in creating portraits of the ‘normal’ search for identity and independence during those transient teen years.” Raw and unguarded, the images depict the drudgery of studying for SATs and even those early, clunky interactions with the opposite sex. Many of these natural moments took place in the photographer’s West Village apartment or on a blissful vacation in the South of France; settings where her children felt most natural.
Considering that another typical teenage experience is the periodic, irrational distaste for everything one’s parents says and does, the project presented its challenges. “It was very difficult with my elder son when I started as he was in full revolt against me,” Fougerson admits. “I am a divorced mother trying to raise her sons as best I could and this added intensity to the artistic and personal struggle.” The photographer mitigated this issue by limiting her sessions to 20 minutes, offering her sons the power of veto and promising full confidentiality when it came to the actions of their friends, namely, not ratting them out to their parents.
Ultimately the experience of creating Teen Tribe with her sons was as rewarding to Fougeron as the powerful resulting images. “It has allowed me not only to be an actor in their lives, but an observer as a mother and photographer.” She says. “Our bond, now that they are in college, is much stronger than if I had not done the project.” And if she misses their presence, she can always turn to her photographs.
Anyone who experienced New York as a twenty-something in the ’80s will tell you this: If you think what you’re experiencing in your day-to-day life is real New York, you should go to the bathroom, snort some more cocaine, and keep waiting for New York to happen to you. It won’t, because the days when people would be too afraid to carry more than $20 in their pocket are over.
Open between 1983 and 1987 in a lofty Tribeca space, AREA is among the nightclubs that best represent that era of New York decadence. Known for its wildly curated parties, the club was notorious for its installations and performance art experiences, and was a haven where creatives could bounce ideas off each other while being surrounded by a stuffed rhinoceros by the bathroom, a handcrafted robot spitting fire, or Andy Warhol doing his thing.
On Tuesday night, in honor of the club’s 30th anniversary, Eric Goode and his team took their old crew and a bunch of us NYC newbies down memory lane. Downtown gallery The Hole was transformed into a pop-up AREA, complete with art performances throughout the first two days. Other parts of the gallery space bore the mostly never-seen-before Francesco Clemente, Jean-Michel Basquiat and Andy Warhol pieces made for the club at the time. Zombie Boy peeked through a hole in the wall, looking rightfully uncomfortable at the end of a three-hour performance. There were naked performers wearing only Barbiesque masks and kitten heels on the dance floor surrounded by Warhol’s signature aluminum foil. Absolut re-branded household products from the late 70s and people (I) had a pretty hard time trying not to take some samples home. Nicholas Cage was said to be around but stayed uncaptured. Patrick McMullan, Wolfgang Wesener, Ari Marcopoulos, Volker Hinz and Dustin Pittman happily snapped photos of friends throughout the night. Those who stayed for the after party saw The Bowery in one of its most purposefully disheveled nights — as in, coffee tables embellished with mock-cocaine and ecstasy, lit with bright colored lights and scene to pillow fights. In a corner, two elderly men contemplated going to the bathroom together to reminiscence about the good old days. And for many, there were just that.
All photos courtesy of Patrick McMullan.
AREA: The Exhibition is on view at The Hole through November 10.
Follow Busra on Twitter: @busra_erkara
Sitting through an entire movie is a waste of time, especially with so much Twitter and what not to stare at. A new book from designers Matteo Civaschi and Gianmarco Milesi and design studio H-57 called Film in Five Seconds saves us all a lot of time by reducing iconic movies to their essence. Scroll through a bunch of them above and see how many you can identify. If you can name them all correctly, you win nothing, but that’s cool anyway. (via)
See more images from inside the book here.
Starting a magazine—one made out of actual paper—might feel like a quixotic pursuit in our dark, screen-obsessed times, where ad revenues are in free-fall and most people would rather swipe than flip. But fuck it. Adult magazine, a heady hybrid of porn and high culture, wasn’t launched in the name of profit, although that would be nice. Editor-in-chief Sarah Nicole Prickett, Publisher Noah Wunsch, and a small team of like-minded, and obviously self-motivated friends started the kind of magazine “we wanted to see in the world,” according to Prickett. The result is 144 pages of restricted editorials, incisive profiles, illicit poetry, Q&As, essays, short stories (“dick lit”), and an omelette recipe for good measure, because sex can starve you. We recently spoke to Prickett, who has contributed to BULLETT in the past, about the ins and outs of starting your own erotic magazine.
First off, a question that every editor must face: What is your target demographic?
Do I have to? We — Noah Wunsch, Berkeley Poole, Jai Lennard and myself — made the magazine we wanted to see in the world. The audience will decide itself. When we find out who that audience is, we’ll make a magazine for them as much as, or even more than, for ourselves.
What was the most challenging aspect of creating Adult?
Getting four people — then five, when Lauren Festa joined, plus our editorial intern Chayenne Skeete — to agree on anything without also compromising freshness. Also, for me, it was impossible to make a living writing for money while also editing for love. It wasn’t just me, though. Each of us wanted to quit at some point, and now we’re all so fucking glad we didn’t.
There are stories in Adult, like the Ryan Coogler profile, that don’t fit within the mag’s overall erotic framework. Why include those stories, and what criteria must they meet?
For Cord Jefferson, Ryan Coogler was a perfect match; Fruitvale Station is Oscar Grant biopic with its devastating analogue in the murder of Trayvon Martin, and Cord was an absolutely necessary writer in the aftermath of Zimmerman’s trial.
The magazine is one of contemporary erotics and experience, to give it an approximate tagline (and maybe a lame one, as almost all taglines are lame). The Coogler profile falls entirely under experience. Nothing erotic about it. But also, Coogler was (I thought) the year’s most important new American filmmaker. I wanted this first issue, arriving so near the end of 2013, to have a slightly retrospective feeling. There seems little point in doing a hyper-current or trendy thing in print. Adult is full of the things I found significant this year.
You worked with a miniscule editorial staff. In terms of content, was there a lot of bouncing ideas off other people, or did you rely mainly on your instincts?
Right. Noah and I discussed a lot of ideas in the beginning, but over the nearly nine-month process, the story ideas became more and more mine, while he worked more to secure distribution and advertisers. He’s really good at getting out there and talking up the magazine, while I’m good at sitting down and talking through it. I do depend almost entirely on two things: My instincts, and my trust in the writers I choose.
Although I edited almost every story, from top to bottom, myself, I had help in the final stages from my fiance, Jesse, who works at Harper’s and has a huge dick, I mean is really good at proofreading. Also, Alyssa Reeder edited the Kristopher Jansma piece; she’s a pro with fiction. And my assistant editor, Lauren Festa, became really invaluable to me, in terms of someone to sit with and talk to about what I was working on. She also has nearly unerring taste; every day she sends me a link or an image and I always feel better for it.
How did you find/convince people, either contributors or subjects, to work with you on a first-time magazine? What was your pitch?
The pitch was different for every person, depending on how well I knew them. With Rachel Kushner I was very informal, just like, hey, can I print all these emails you send me? To Deborah Kampmeier, whom Noah wisely suggested, I sent a long and sort of fangirlish email about female sexuality, storytelling, and guts.
Some of the most instrumental talents in the magazine, like the illustrator Kathryn Macnaughton and the typeface designers Helsinki Type Studio, were found by Berkeley just through her research online, and she was able to convince them — even though they didn’t know her at all — by having such a dead-on vision. As for the photographers, I think anyone would want to work with Jai Lennard, who is the raddest, most personable dude.
What advice do you have to anyone else looking to start their own magazine?
If you’re a woman, work with women. Work with queer or queer-ish or (at the very least) open-minded young men who know that the right way to be a male feminist is to know when to shut up and listen. That’s what works best for me; I’ve never been a guy’s girl, and the babes in my life have my back. Rachel Rosenfelt (editor of the New Inquiry) once said this amazing thing in an interview. She was basically like, stop with the VIDA counts. Stop trying to get old established magazines to publish more women. Let them burn! Start your own thing.
How big of a concern is advertising and monetization going forward? Does that aspect of this freak you out at all?
It’s a huge concern. I don’t want to do another cool project that keeps all the good kids broke. Luckily, we’re already getting much more interest from people with money than I could have dreamed of, although maybe that’s because I don’t sleep.
How instrumental was your insomnia to getting this thing done?
When we were finally closing the issue, I felt the lowest I have, physically, in a long time. I fell asleep at my computer three times in a row—at a “normal” hour, like 11 pm or midnight, but Berkeley and I were so used to staying up late that she was like BITCH I KNOW YOU DIDN’T. So yeah, I’d say my non-sleeping schedule helped, although that doesn’t feel like the right verb. Anyway, it’s not exactly insomnia, more like intense moods, these overdetermined highs that sometimes make sleep impossible.
What are some things you’re going to do differently for Issue 2?
No spoilers! Well, I can say that the photography will look wildly different. The first issue pays homage to our predecessors, and because of that, it’s too homogenous for my taste. I’m not going to soft-pedal what I personally so strongly believe. Also, as I told Molly at The Cut, I screamed bloody murder over some of these images, but the decisions were ultimately our photo editor Jai Lennard’s to make. I want more sizes, more shapes, more colours, because I think it’ll be more beautiful that way (and also more politically right).
We were all making Adult for free and as equals. Translation: Constant disagreement. By the end, though, we all loved the cover story, while also feeling that we would do things much more… open-mindedly the second time. In the sophomore issue, there will be as many naked men as there are naked women in the first. We’re still not going to shock, but we’ll surprise—I hope.
Can losing one’s virginity be considered art? My experience was reminiscent of most contemporary art, anyway: confusing, devoid of meaning, and something no one anywhere would ever want to look at.
All art is masturbation unless you can convince someone else to get involved in it, whether as a spectator or a collaborator, which is something that 19-year-old London art student Clayton Pettet is taking quite literally. The Central Saint Martins student will ‘sacrifice his purity’ on the altar of art in January, in a piece that’s getting a lot of media attention because it challenges the ways we think about the concept of the virginal and also because of #hot #teen #art #gay #sex.
All jokes aside, Pettet brings up some interesting points in his statement about the piece centering around his piece.
The concept of virginity has been a topic of intrigue since the birth of humanity – and the loss of virginity is to this day considered an important rite of passage.
Although virginity itself is an abstract idea, the moment the hymen is broken is completely physical, and thus the exact moment of deflowering can be pin-pointed.
For women that is. The loss of male virginity is still more abstract – an undetectable moment in time, does male virginity really exist? If so, can a male ever lose his virginity?
This idea becomes more complex when one considers all types of sexual relations. Men and men, women and women? Virginity has almost become heteronormative in its definition, given that in the most graphic of terms it is the moment when a penis first penetrates the vagina. Therefore when is the moment of loss for a human male? And is virginity even real, for women and men? Or is it just an ignorant word that was used to dictate the value of a woman’s worth pre marriage.
In this immersive art piece, Clayton Pettet will explore the answers to this question in one of the most innovative and intimate ways possible.
On the 25th of January 2014, viewers will be invited to a private art show, in Central London, where the artist will lose his virginity to a live audience, encouraging those watching to question the importance of virginity and whether our traditional values hold true – is deflowering really a loss? Or is it an awakening, a beginning, a milestone that should be celebrated rather than feared?
Dazed has an interview with Pettet where he discusses the response the project has been getting. In the meantime, forward this story to your Republican family members and try to figure out which part makes them more exasperated, the idea of art in general, or homosexuality. Should be a pretty tight back and forth.
We teamed up with Lincoln Motor Company‘s Hello Again campaign to present a series of videos expressing some outstanding examples of how artists we love have reimagined creativity. In our second instalment, we present BULLETT’s very own Brady Gunnell: a multimedia artist, designer, videographer, and in-office cultural attache to all things epic. A Utah native, Brady is currently a senior designer and creative collaborator at BULLETT, with ongoing installations and independent projects presented throughout much of North America (you might have caught his residency at the Gladstone in Toronto, or his most recent pop up exhibition at PS1 in Queens).
With Man on the Mountain, Brady introduces us to a hidden world of seismic activity through sound and notation. After recording the seismic data of four Navajo mountain peaks, Brady created a sound annotation program that converted variation in tectonic activity to audible tonalities. He then paired these soundscapes with footage of each peak, resulting in a melodic and visually identifiable communication between man and Earth. Check the video to learn more!