Showing posts with label Mr. Twister. Show all posts
Showing posts with label Mr. Twister. Show all posts

Tuesday, May 21, 2024

REST IN PEACE GIA


Rest in peace Bereton Tanager Gia, Aug. 1, 2014 - May 20, 2024, my beloved Scottish Deerhound who did not survive an episode of cardiac and other systems failures. She was loved by all who ever encountered her, and she loved them back profusely. Gia is shown above smiling, because as a photographer, I want you to see what I saw, a totally sweet dog, a pillar of goodness.

If one ascribes to the philosophy, Mr. Twister, Gia and Annabelle are basking in one another's love all together again, along with their Deerhound pals Eroica, Callahan and Norris from our dog playdates. (All Deerhounds depicted here though are Gia.) (Later blogs will tackle the recent deaths of my soulmate/husband of the last 50 years Mr. Twister, and of my beloved brother Randall; my horse Indiana Jones has already been eulogized. Dedicated readers may have noticed the slowdown of content in the Fastfilm blog. There has been an inordinately gigantic amount of loss, grief and heartbreak within the last couple of years, not to mention countless medical emergencies, caretaking, and difficult treatments that ultimately did not work; there's only so much emotion my heart can untangle at a time...)




Gia always knew how loved she was but... much of her life proved less fun than those of my previous dogs. There were 3 years of lockdowns (California's unique exceptionally long ones unlike every other state, and further restrictions because we humans were ~ gasp ~ over 65 years of age!) meant no outside the home activities like dog shows or coursing (running) events to interact with new canines. These were the same 3 years of her pack co-leader Mr. Twister being frequently disabled with his severe illness, then his leaving the pack forever. So much sorrow for Gia. At least the two younger pups Livia and Bella, seen below with Twister and Gia, always respected her hierarchy position as "first dog." (I reinforced this as well.)

It's appropriate here to mention that thanks to my friends Sherry, Ian and Paul (and occasionally Katrina) Gia enjoyed doggie playdates with other Deerhounds and Borzois every Sunday that we could manage it, and that Livia, Bella and I look forward to a continuation of this, (avoiding the new, permanent nighttime incursion of a baby boom of dog-aggressive skunks.) Gia's rarer visits with Waddy and Annie obviously were treasured as well.

Boy, do I ever miss Gia's constant kisses, from her now vacant place on the couch. One of the above photos is my selfie of same, which I'm glad I have to commemorate her unflagging love. 

As with all mammalian species, the giant-sized sighthounds do not live as long as little dogs. These giant sighthounds' winning ways of total devotion, outstanding beauty and everything good and pure that dogs can be continually keep us in their sway. We who love them (and, dare I add, soulmates) always know the eternal gamble going in: no matter strong that love or how worthy those to whom it is given, the house always wins.


 Below, Gia, having gotten in the mood by dressing the part, watching the film "Oppenheimer." This photo of her appeared in the "The Claymore," the house organ of the Scottish Deerhound Club of America.

Addenda: 1) Over 578 friends on Facebook expressed their condolences of Gia's passing. 2) Gia died on the day before what would have been Mr. Twister's 76th birthday.


 

Wednesday, April 26, 2023

BENTLEY 2.0


Mr. Twister posing rakishly and yours truly at the Queen's English British Motorcar and Motorbike show in Woodley Park, San Fernando Valley, L.A., Calif on a commendably beautiful day, 4.23.23 with his own entry in the show, his 2009 convertible Bentley Azure. This is where the copy from the previous post was intended to appear. If you can't quite make it out on his poster that I fashioned for him for the show, it reads: 

"Last fall I got some great news about my Stage 4 cancer - and this is an early bucket list result!

Nice enough to look good, but enough nicks and scratches that I don't worry (too much) about driving it. Only 450bhp, but 645 ft. lb. torque. Redline is a blistering 4500 rpm." 

(Ed. if only this great news had held up. It was not to be. At least we had this lovely weather, perfect day occasion of his Bentley starring in our local British car show described above.)

Thursday, April 20, 2023

BENTLEY!

(The whole family minus my horse Janeway depicted herein: my better half Mr. Twister, Gia the Scottish Deerhound, Livia the Borzoi, Bella the Golden Retriever, and yours truly, in our back yard of our 1912 farmhouse in a deceptively slummy part of the San Fernando Valley of Los Angeles.) Here is what Mr. Twister wrote about his recent purchase of a stunningly elegant 2009 convertible Bentley motorcar:

        "Last fall I got some great news about my Stage 4 cancer - and this is an early bucket list result! 

Nice enough to look good, but enough nicks and scratches that I don't worry "(too much) about driving it. Only 450bhp, but 645 ft. torque. Redline is a blistering 4500 rpm."

-Kurt Ingham, April, 2023

 

Monday, June 29, 2020

NATIONAL CAMERA DAY 2020

photos © Heather Harris, Kurt Ingham, Donna Balancia. It's National Camera Day. I've been at this rather a long time (first pic is from the original Glam 1970s, with very first sighthound Lucretia Borzoi as a puppy.) Favorite equipment over the decades: Rolleiflex medium format (not pictured) for studio, Panasonic Lumix (not pictured) to not scare those in the public eye and Nikon D3 digital for everything else.

My tech advancement would have been nil without Mr. Twister's patient guidance. He is pictured at bottom in a 1970s self portrait with his Pentax ES with its 180mm f2.8 Sonnar lens, and then more contemporarily. However, the world doesn't want you to see me doing this again any more...
 
At the Great Pyramid, Egypt; at photo session with Iggy Pop and Don Was 1990↓


←with James Williamson in studio; ↓ with Zander Bleck in club
↓Mr. Twister and self in 1980


 Mr. Twister1970s self portrait with his Pentax ES, and more contemporarily
 

Wednesday, February 5, 2020

ANDEE EYE, BOOK OF MEMORABLE CANDID PORTRAITURE FROM THE 1960s/70s


↑ © 1967 Andee Nathanson. All Rights Reserved. From her book "Andee Eye" available at https://andee-eye.com. You will kick yourself into unconsciousness if you fail to get this limited edition of her rare, insider, candid portraiture of your favorite mid-60s/late 60s/early 70s rock and other personages, such as the Rolling Stones, Gram Parsons, Marianne Faithfull, Talitha Getty, the GTOs and even my better half Mr. Twister, seen here at right with pal Ida Random circa 1967. 

I have a feeling this unique work of all previously unpublished photos will be remembered for generations to come for reference to the genuine look of the era by its actual stylemakers as much as for her unique artistry and talent...

Thursday, March 22, 2018

GUSTAV KLIMT/AUGUSTE RODIN EXHIBIT at Legion of Honor Museum, San Francisco

"Klimt...a great destroyer of traditions and a creator of terrifying beauty."
-Jonathan Jones, The Guardian, 2008.
Guest photographer © 2018 Kurt Ingham, first three photographs. Above, yours truly spellbound at Klimt's Die Jungfrau, 1913, oil on canvas, on loan from the National Gallery of Prague. Object of day trip excursion to San Francisco: one of the last three days of the Gustav Klimt exhibit at the Legion of Honor Museum, KLIMT & RODIN: An Artistic Encounter, October 14, 2017 to January 28, 2018.
 
Above, your humble photojournalist in front of Klimt's Portrait of Sonja Knips, 1898; also, in our living room, my copy of the same painted during my tenure at UCLA Art School. The subject was undercoats, and the class assignment was to copy any painting that the student thought demonstrated this as an important element (copying teaches one to duplicate whatever the original artist did, stroke by stroke. It is valid art education.) The background is dark green undercoat with red on top to make a warm, organic brown. I messed up the facial likeness but thought that I portrayed an actual body existing under all that white organza of the dress rather well.

Well done, particularly given the limitations of source material and space. The exhibit marked the first time that a retrospective with over two dozen works by Klimt ever has been seen on the West Coast of the U.S. in the one hundred years since the artist's death. It also marked the first time I ever had seen a Klimt painting in person. The Belvedere had been closed for renovation the one time Mr. Twister and I were in Vienna, and the pop up show of the five paintings owned by Maria Altmann (for the book and story of the famous art restitution case around them, see LINK* ) at the L.A. Art Museum was a sold-out sardine-fest of wall to wall people, which never would have let me see them up close had I squeezed in.

While appreciating all greatness in fine art, my true art obsessions have been restricted to the Pre-Raphaelite movement, Whistler and Klimt. Why Klimt? It remains gratingly problematic to describe anything which one truly, madly, deeply loves. This is why we distinguish between writers and poets, and I am no poet. Klimt has been a personal favorite since a UCLA art teacher of mine in 1970 showed us his line drawings, and pointed out that this artist's very realistic understanding of human physiognomy anchored all the wild stuff. I didn't even see the color extravaganzas in books until later (source of my art class copy.) Add his myriad phases from classical to metallic to fauve amidst the intrigue of Fin du Siecle Vienna, his combo of decorative, art nouveau symbolism to spankin' new unknown territories, plus his visual assertion that we women had fun during sex as well.

Detail, Portrait of Gertrud Loew, 1902                                   Portrait of Ria Munk, 1918
 
The showpiece work Jungfrau normally lives in Prague at their National Museum. 
Another seminal work like the Portrait of Gertrud Loew, the teenager painted Whistler-style white on white from a single photograph (one of five such works ever, since Klimt preferred live sitters, the others being three posthumous portraits of Ria Munk, one of which adorns this exhibit, and the last of another teenager was lost after its Nazi theft) has the normal checkered history of many Austrian masterpieces- confiscated by the Nazis when Gertrud fled for her life in 1938, then a miasma of ownership battles. This painting eventually was claimed by Klimt's bastard son Gustav Ucicky the Nazi filmmaker, whose widow at least was convinced to return it to Gertud's survivors after the war.

Those survivors, unequipped to provide security for a $40 million dollar painting, sold it at Sotheby's to British billionaire Joe Lewis. I truly wish Lewis would loan this amazing work indefinitely to a worthy museum, as the painting otherwise lives on his yacht! (rather less secure than most metropolitan museums.) Lewis also owns the gorgeous if unfinished Portrait of Ria Munk 3, 1917 exhibited here, which helps show us Klimt's processes for decoration within portraiture. Another late work The Baby normally lives in Washington D.C.'s National Gallery, and Vienna's The Belvedere and Leopold Museums even loaned three gorgeous Klimt landscapes. Ronald Lauder's Neue Galerie, NYC loaned the famous "The Black Hat, 1910 (which has adorned many an art book cover) and the Vienna Theatre Museum loaned the equally famous Nuda Veritas of the full frontal redhead with early styling of Klimt's gold fixations... 

   Nuda Veritas, 1897                                                          The Black Hat, 1910

A surprise to me in the Legion of Honor Klimt exhibit: a life-sized (14ft. x 17ft.) reproduction of Medicine by Klimt, 1904 via its only known source, an old black and white of this lost colorful work, above with humanoid fragment for scale. This startling painting was incinerated by the Nazis, along with the majority of his most radical work. Please read this short article by Jonathan Jones that explains all, see (no shortcut, please cut and paste, worth it!):  https://www.theguardian.com/artanddesign/2008/may/07/art A key paragraph states "...For every person who finds his work gorgeous, seductive, sexy, there is a 'sophisticate' who will point out that his art is surely a bit vulgar, with all that gold; a bit slavish in its ostentatious celebration of rich women; and a bit, well, soft-centred. It's a negative view that is an accident of history, of what has survived of his work and what hasn't. Behind the Klimt everyone knows, the opulent artist of desire, stands another Klimt - a painter who was years ahead of Picasso and Matisse, a great destroyer of traditions and a creator of terrifying beauty."

Similar 14ft. x 17ft. photographic reproduction of the lost, colorful mural Philosophy from the same series, next to Rodin bronze.
                        

Above, Mr. Twister and his Twin-lens Reflex cell phone camera in front of life-sized reproduction of a detail of Klimt's Beethoven Frieze. The original of this restored mural now is housed in the similarly restored Secession building in Vienna, Austria, Klimt's stomping grounds. He was the first president of the breakaway Vienna Secession of artists and applied artists.

Two Girls with Oleander, 1890, primo example of Klimt's earlier proto-photorealism, the popularity of which led to many commissions with his brother for murals on Vienna civic buildings and theatres. The controversies over the Medicine, Philosophy and Jurisprudence murals ended those commissions, freeing Klimt to take off in whatever new directions he chose.  Painting and "interacting" with beautiful, rich Jewish society ladies suited this Austrian Casanova's personality better, anyway.


←cover of the catalog for the very first exhibition by the Vienna Secession, 1897, drawing by Klimt, its first President.

Below, various antiquities that are part of the Legion of Honor Museum's permanent collection.
 

 

At the airport on our way home from the Klimt exhibit; and below, actually dining al fresco at the museum earlier. Mr. Twister brought some unprognosticated good weather with him...


Mr. Twister at the Legion of Honor collonade, with a Rodin bronze, and at its park with a Golden Gate behind in the distance...


            (photos © 2018 Kurt Ingham) Happy traveler...






*http://fastfilm1.blogspot.com/2015/07/woman-in-gold-klimts-masterpieces-in.html


Tuesday, May 30, 2017

HEATHER HARRIS PHOTO EXHIBIT AT POP OBSCURE GALLERY with THE BLESSINGS live, opening night reception 5.6.17


↑ Guest photographer © 2017 Kurt Ingham.

Pop Obscure Records & Gallery (LINK) of downtown Los Angeles threw a well-attended reception for their exhibition of my 50 years of music photography on May 6, 2017. Above, Sherry Lee, co-owner (with Dustin Lane) of Pop Obscure Records & Gallery, Jeremy White of The Blessings who performed, and yours truly. The exhibition runs through June 18th.

Downstairs gallery↓

              ↑ Upstairs gallery with Mr. Twister in front of photos of himself,                           and Jonathan Lea, guitarist of amazing band the Jigsaw Seen. ↓
 
Downstairs record store with celebrated guitarist Whitey Kirst posing with Inger Lorre of The Nymphs, whose original lineup included Whitey's brother Alex. (Whitey and Alex then backed Iggy Pop as The Trolls until a hit and run driver killed Alex.)


On a far cheerier note, Inger said she had been influenced by Mr. Twister and his nasty lyrics in his band Chainsaw's first single, "Polaroid Pictures," and happily posed with him (with half of Dennis Davison of Jigsaw Seen in the background.)
↑ Jeremy White, Inger Lorre and Whitey Kirst
↑ Michelle Melody Fair, all of Dennis Davison of the Jigsaw Seen, Inger Lorre, Mr. Twister
Lead singer of Little Caesar Ron Young and wife Renee, Mr. Twister ↓
 ↑ Above, phenomenal singer/songwriter Ruby Friedman with Mr. Twister.
Guest photographer © Donna Balancia.

One of my favorite shots of the evening, Mr. Twister and me as on the job  photojournalists. Guest photographer © Donna Balancia

The Blessings (see LINK,) my band of choice, performed a characteristic great set in the latter half of the reception.
↓ The Peanut Gallery; i.e. the mezzanine, with enraptured audience. 
 In fact, a very full Pop Obscure Records event, both upstairs and down.

                                          ↓  Guest photographer © Carolyn Carradine

                Guest photographer © Leslie Knauer ↓
 
Guest photographer© Kurt Ingham ↓                                                            

The Blessings are Jeremy White, vocals, guitar, harmonica; Mike Gavigan, guitar; Lavonne Seetal, vocals, Jason Upright, drums; Jeffrey Howell, keyboards; Lights Out Levine, bass.
↑ Colleague Ellen Berman, self, Loren Molinare of The Dogs and Little Caesar. 
Guest photographer © Kurt Ingham

Below left, photographers Harrold Sherrick, Michael Eivaz, Shelley Mitchell and Ellen Berman. Right, Ruby Friedman's French Bulldog- "Get the lens, Clovis, get the lens!"


Whitey Kirst emerges from the shadows...

↓ Below left, Casey Niccoli with my shot of her with Perry Farrell and their dog Annie at a recording session for 1990 Hollyword spoken word compilation produced by Harvey Kubernik. Guest photographer © Ricky BiscuitsRight, Paula Tiberius, Julie Scher Molinare,
 Guest photographer © Donna Balancia

















Alex Stiletto of Modern Kicks and Leslie Knauer of Precious Metal.
 Guest photographer © Donna Balancia

Self with Marijke Koger-Dunham, (fine artist, designer, The Fool) 
Guest photographer © Donna Balancia
Guest photographer © Alyson Camus

Chris Carradine (architect, Disney Imagineer,) Marijke Koger-Dunham, Mr. Twister, self
Guest photographer © Donna Balancia

Chris Carradine found an album by his brother! Shhhh...don't spoil the future gift surprise!


↓ Left, I do not stand on top of subjects as a matter or course: it's a skillful composite.
Guest photographer © Vicki Whicker ;  
Right, self, Katrina Melendez, Leslie Morrison. Guest photographer © Ellen Berman
                
















 Ian O'Connor and Sherry O'Connor, 
Special Effects folks extraordinaire for films and television
 
↑ Ian, Sherry and an always dashing Mr. Twister
Guest photographer © Alyson Camus
↑ Sherry, Ian, self, Katrina Melendez, Crickette Oswald. Guest photographer © Alyson Camus

Lady and Lord Hailer, April Carson and Robert Mills of The Hailers.
Guest photographer © Donna Balancia.
↑ Emily Butler and Jeremy White

↓ Mr. Twister, self, Loren Molinaire
Guest photographer © Michael Eivaz
Photo ops of Whitey Kirst and Inger Lorre, Donna Balancia and Chris Carradine in background.
Guest photographer © Alyson Camus
  ↑ Holga Camera and her retinue; below, bits of exhibit




 



















Sherry Lee and Dustin Lane, co-owners of Pop Obscure Records & Gallery
Thank you for a swell reception, Pop Obscure Records & Gallery and everyone!

One of my other fave pics of the evenings. Guest photographer © Leslie Morrison

 May 6th Prequel: Theatre date with Chris and Carolyn Carradine for Much Ado About Nothing performed by The Hobart Shakespeareans then dinner at Cole's, a vintage 1908 restaurant in downtown L.A. Vintage anything remains quite the rarity in L.A.  Selfies ensued.  Under the evening apparel I am sporting my naughty Klimt leggings with "the Hostile Powers" from his Beethoven Frieze.


Return to Forever Post Script: rock couturier Evita Corby, author Terry Moreland Henderson, musician/longtime friend Tripp Smythe and my mother were unable to attend the reception, so I gave them all a personal guided tour through the exhibit within the week afterwords.  Below, Evita stands nonchalantly next to my portrait of her with Rodney Bingenheimer taken at a 2011 art exhibit in the exact same building of the 1970s Rodney Bingenheimer's English Disco, a favorite haunt of both subjects. (Seeing this shot, Mr. Twister remarked that Evita has mastered nonchalant...)
 
 ↑ My mother and Tripp share the same familial name of "Smythe"
guest photographer Terry Moreland Henderson ↓
Additional coverage of the opening night reception event via more objective P.O.V.s: 
California Rocker coverage: LINK*      
Rock NYC coverage: LINK*

Link to Pop Obscure Records & Gallery website: http://www.popobscurerecords.com/
Link to THE BLESSINGS:  http://fastfilm1.blogspot.com/search/label/The%20Blessings
 *http://californiarocker.com/2017/05/08/blessings-heather-harris-balancia/
 **http://rocknycliveandrecorded.com/fast-film-50-years-of-music-photography-by-heather-harris-at-pop-obscure-records-saturday-may-6th-2017html.
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