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  Sujet : Robert Whitaker photographe incompris de la Butcher Cover
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Filou



Inscrit le: 14 Nov 2002
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MessagePosté le: Lun Déc 12, 2005 1:11 am    Sujet du message: Répondre en citant

Claude Nine a écrit:
"Bob" est, avec Dezo Hoffmann, l'autre grand photographe indissociable de l'histoire des Fabs.

C'est une excellente idée de lui rendre cet hommage.

Tiens, pendant qu'on y est, voilà un cliché plutôt rare de cette fameuse session "butcher" que je viens de découvrir et que je m'empresse de partager avec vous :



Marrant, non ?
Ce qui est clair, c'est que l'humour était un moteur essentiel dans tout celà. C'est, en tout cas, ce que j'en retiens.

Filou
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MessagePosté le: Dim Oct 02, 2011 11:12 am    Sujet du message: Robert Whitaker photographe incompris de la Butcher Cover Répondre en citant

Filou a écrit:
On 25 March 1966 The Beatles went to Bob Whitaker’s Chelsea studio for a photo session. The session was originally intended to make photos for the cover of (and/or to promote) their forthcoming single, Rain/Paperback Writer.

Clearly, band and photographer were all determined to create something more than the run-of-the-mill publicity shots. Among the resulting images was that which has since become known as the “Butcher” photo, depicting The Beatles waerring white coats and draped with dismembered doll parts and slabs of meat.



La Butcher Cover selon Bob : "I did a photograph of the Beatles covered in raw meat, dolls and false teeth. Putting meat, dolls and false teeth with tne Beafles is essentially part of the same thing, the breakdown cf what is regarded as normal.
The actual conception for what I still call "Somnambulant Adventure" was Moses coming down from Mt. Sinai with the 10 Commandments. He comes across people worshipping a golden calf.
All over the world I'd watched people worshipping like idols, like gods. To me they were just stock standard normal people. But this emotion that fans poured on them made me wonder where Christianity was heading."

"John played with all sorts of bits and pieces before we actually did the picture. I did a few outtake pictures which were of them actually playing with a box full of dolls which they pulled out and stuck all over themselves. There was an enormous amount of laughter."



"The cover of the album Yesterday and Today was an unfinished concept. It was just one of a series of photographs that would have made up a gate-fold cover. Behind the head of each Beatle would have been a golden halo and in the halo would have been placed a semi-precious stone. Then the background would have contained more gold, so it was rather like a Russian icon.
It was just after John Lennon had said that the Beatles were more popular than Jesus Christ. In a material world that was an extremely true statement."

Three images are those intended to be the three parts of the triptych. The first photo shows The Beatles facing a woman with her back to the camera, her hands raised as if in surprise (or worship) while The Beatles hold a string of sausages. This was meant to represent the 'birth' of the Beatles, with the sausages serving as an umbilical cord.
Whitaker explained: "My own thought was how the hell do you show that they've been born out of a woman the same as anybody else? An umbilical cord was one way of doing it."



The centre panel of the triptych is the image nowadays referred to as the “butcher” photo. Bob’s intention was to add other elements to it which would create a jarring juxtaposition between idolisation of The Beatles’ as gods of the pop world and their flesh and blood reality as ordinary human beings.
There was even George Harrison banging nails into John's head with a hammer. This was intended to demonstrate that the Beatles were not an illusion, not something to be worshipped, but people as real and substantial as "a piece of wood". The actual conception of what is termed the ‘Butcher's Sleeve’ is a reasonably diverse piece of thinking.


The project entitle 'Somnambulant Adventure' would have been in gatefold form and the cover shot would have been the 'butcher' picture. Inside there would have been other photos taken at the same session. These were of:
- The 4 beatles holding sausages in front of a little girl
- John holding a cardboard box with '2,000,000' written on the side above Ringo's head
- George hammering nails into John's head
- Paul and George with their heads in a canary cage


These pictures would have been 'touched up' in similar ways to the front cover.
Why? Apparently Bob Whitaker wanted to represent the relationships between birth, life and death !
He got the idea for the 'butcher' picture from a German artist of the 1930's, Hans Bellmer, who had pictures of dismembered dolls in one of his books, 'Die Puppe'.



"Having finished that particular picture, it was snatched away from me and sent off to America. It was reproduced as a record cover without ever having the artwork completed by me. The cover layout was somebody else's conception...
I was just trying to show that the Beatles were flesh and blood.”


Capitol printed the cover in early June, using the “Butcher” photo, and the release of the album Yesterday and Today was scheduled for 15 June 1966. The reaction came back that the dealers refused to handle them. And to avoid any possible controversy or undeserved harm to the Beatles' image or reputation, Capitol has chosen to withdraw the Butcher sleeve LP and substitute an unremarkable Whitaker shot of the Beatles gathered around a large steamer trunk, taken in Brian Epstein’s office.
It was rushed to America, where Capitol staff spent the following weekend taking the discs from the returned "butcher” sleeves and putting them in the new sleeve. Several thousand copies of the original cover were destroyed and replaced by the ‘cabin trunk’ sleeve, but Capitol eventually decided that it would be more economical to simply paste the new cover photo over the old one.



After the album was released, news of the ‘paste-over’ operation leaked out, and Beatle fans across America began steaming the cabin trunk photos off of their copies of Yesterday And Today in the hope of finding the “butcher” cover underneath.

Filou a écrit:
Whitaker les a pas mal shooté pendant ces 3 années, entre 64 et 66, et le résultat est souvent du plus réussi.

Il est devenu mythique grâce à la Butcher Session mais il a fait plein d'autres photos vraiment sympa qui se sont retrouvé parfois sur des pochettes d'albums ou de singles (Revolver, Oldies But Goldies...) et pas mal de vinyles US comme ailleurs all over the world Cool

Mais, en ce qui concerne la Butcher Cover, ce qui est intéressant, à mon avis, c'est d'essayer de comprendre ce qu'il avait voulu faire passer comme message en les shootant dans ces positions plutôt étranges. Car oui, il y avait un message. Rolling Eyes
Et ça a donner lieu aux rumeurs les plus folles comme, par exemple, que c'était les Beatles eux-même qui voulaient ainsi casser leur image ou bien que c'était par rébélion vis à vis de Capitol qui "massacrait" les albums GB en fabriquant de toutes pièces les albums US avec de nouvelles pochettes et des titres pêchés à droite et à gauche... Sad

Mais le vrai sens à tout ça, c'est Bob lui-même qui l'explique avec son histoire de "triptyque" (cf. commentaires de mon post précédent) en réunissant plusieurs clichés d'un concept original traitant de la naissance, la vie et la mort. L'isolation des Fabs qui étaient pris pour des Dieux à l'époque... Le coup du "cordon ombilical" et des poupées vont dans ce sens. Pareil avec les clou, les boites et tout le reste Confused
Mais il n'était en aucun cas question de se servir de la photo "butcher" isolée sans rien d'autre qui complète le message. Bon, ça a l'air assez obscur mais on ne peut s'empêcher d'imaginer quel aurait été le résultat final s'il avait pu mener son projet jusqu'au bout.
Entouka, moi, oui. Cool

D'ailleurs je crois qu'il devait essayer de réaliser ce projet près de 30 ans plus tard. Mais j'ignore s'il a été au bout de son idée ou pas.

...

Voila de quoi remettre les pendules à l'heure...

Et resituer le véritable contexte de cette pochette devenue mythique.

Voila un résumé très synthétique qui devrait vous permettre d'y voir un peu plus clair dans toute cette histoire.

Non sans rappeler que Robert Whitaker a également été impliqué dans le projet d'autres pochettes des Beatles.





A banned album ?

Okay, before you get all bent out of shape, technically speaking this isn't a banned album. Capitol Records elected to "withdraw" it prior to general release. That technicality out of the way, 1966's "Yesterday & Today", commonly known as the "butcher" album is probably one of the world's most sought after record collectables. People prize it, willingly paying hundreds, even tens of thousands of dollars for a copy (particularly for first state copy - explained below) even though it's a far more common item than generally recognized.

So what's the story behind this one ?

More than willing to cash in on Beatlemania, Capitol Records decided to continue its program of squeezing out new Beatles product from previously released English material. In this case the company pulled together a mixture of six tracks found on the two previous English released albums, but deleted from the American releases, a previously released British single and three tracks drawn from the in-progress "Revolver" album.

What was different about the product was the cover featuring the smiling Fab Four posed in butcher smocks surrounded by an array of raw meat, decapitated nude dolls and body parts.



Insensitive to the fact the cover was at best tasteless, Capitol printed up an estimated 750,000 copies of the cover, along with a wide array of promotional material. Advanced copies and some promotional materials were provided to DJs and retailers, but in the wake of complaints about the gruesome nature of the cover, Capitol hastily decided to recall the albums and all of the promotional item.

Destroying the promotional material, the original sleeves were modified by slapping a rather bland photo of the band in front of a steamer trunk. Since the new covers were glued over the old, it didn't take people long to figure out they could peal or steam the new covers off in order to see the original sleeve.



So why'd they do it ?


For years the rumor mill claimed it was a response to Capitol's ongoing "butchery" of their albums - as discussed above, the company literally carving up the English releases in order to generate additional product for the American market. While the band were clearly unhappy with Capitol's marketing efforts, that wasn't the reason for the cover.

John Lennon was quoted in an interview as explaining the cover as "inspired by our boredom and resentment at having to do another photo session and another Beatles thing. We were sick to death of it"

Alan Livingston was President of Capitol during that timeframe and in an interview with Mojo magazine said "He [Paul McCartney] was adamant and felt very strongly that we should go forward." "He said 'It's our comment on the war"


A Somnambulant Adventure

Australian photography Robert Whitaker is actually credited with the concept (and the photo).
Whitaker's Beatles connection stemmed from some 1964 pictures he'd taken of Beatles' manager Brian Epstein during the band's Australian tour. Impressed with the results, Epstein hired the photographer with the result being Whitaker spent the next five years documenting the band.



Over the years both Whitaker and the individual Beatles have commented on the cover; all agreeing that the photo (along with a slew of alternate takes) were done out of a sense of boredom and as a commentary and reaction to the public's ongoing adulation.
Entitled "A Somnambulant Adventure", Whitaker's original concept called for the band to be seated in front of a gold background, surrounded by jeweled halos. Interestingly, the picture chosen for the cover turned out to be one of the raw, unfinished photos he'd taken at an earlier session.




Banni ou pas banni : http://badcatrecords.com/BadCat/BANNEDbeatles.htm

More about butcher stuffs : http://www.eskimo.com/~bpentium/butcher.html

So long, Bob : http://www.lucyintheweb.net/lucy/forum/viewtopic.php?t=6935

Filou
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Filou



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MessagePosté le: Dim Oct 02, 2011 1:50 pm    Sujet du message: Bob le boucher... Explication de texte et Délire artistique Répondre en citant

En gros, la Butcher Cover a été complétement sortie de son contexte initial à l'insu du photographe lui-même. C'est Capitol qui est à l'initiative de ce projet sans la moindre consultation des principaux intéressés tels que Robert Whitaker, Brian Epstein, George Martin, la maison de disque EMI de Londres ...et encore moins les Beatles eux-mêmes.

Et, comme souvent, en particulier peut-être avec les Beatles, la réalité se transforme rapidement en des fantasmes liés à l'époque, des faits pouvant avoir un rapport, aussi approximatif soit-il, avec la signification que l'on veut bien leur donner... mais, comme ici, bien loin de la vraie explication des choses.

Voila un extrait d'interview où Robert Whitaker revient sur les questions qui ont longtemps entouré ce mystère :


Q: How did that photo, featuring the Beatles among slabs of meat and decapitated dolls, come about? Was it your idea or the Beatles'?
It was mine. Absolutely. It was part of three pictures that should have gone into an icon. And it was a rough. If you could imagine, the background of that picture should have been all gold. Around the heads would have gone silver halos, jewelled. Then there are two other pictures that are in the book [The Unseen Beatles], but not in colour.

Q: How did you prepare for the shoot?
It was hard work. I had to go to the local butcher and get pork. I had to go to a doll factory and find the dolls. I had to go to an eye factory and find the eyes. False teeth. There's a lot in that photograph. I think John's almost-last written words were about that particular cover; that was pointed out to me by Martin Harrison, who wrote the text to my book. I didn't even know that, but I'm learning a lot.

Q: Why meat and dolls? There's been a lot of conjecture over the years about what that photo meant. The most popular theory is that it was a protest by the Beatles against Capitol Records for supposedly "butchering" their records in the States.
Rubbish, absolute nonsense. If the trilogy or triptych of the three photographs had ever come together, it would have made sense. There is another set of photos in the book which is the Beatles with a girl with her back toward you, hanging on to sausages. Those sausages were meant to be an umbilical cord. Does this start to open a few chapters?

Q: Were you aware when you shot it that Capitol Records was going to use it as a record cover?
No.

Q: Were you upset when they did and then when they pulled it and replaced it with another photo?
Well, I shot that photo too, of them sitting on a trunk, the one that they pasted over it. I fairly remember being bewildered by the whole thing. I had no reason to be bewildered by it, purely and simply, because it could certainly be construed as a fairly shocking collection of bits and pieces to stick on a group of people and represent that in this country.






Et puis, une explication un peu plus détaillée de ce fameux projet que Whitaker avait en tête lorsqu'il a organisé cette session-photo. Ou plutôt comment il a présenté les choses par la suite... Ce qui est peut-être légèrement différent.

Ces explications valent ce qu'elles valent mais c'est sa version des choses. Et même si on peut se demander s'il n'avait pas fumé que du tabac, cela reste la version officielle et apparemment ce qu'il avait en tête, à l'époque, lorsqu'il a organisé cette session-photo.

What, then, was the point behind the photograph? As Whitaker explains it, the idea for the photo session came about because both he and the Beatles were fed up with taking market-friendly publicity pictures. John Lennon, in an interview shortly before his death in 1980, echoed this sentiment: "It George and John was inspired by our boredom and resentment at having to do another photo session and another Beatles thing. We were sick to death of it."

Whitaker had intended the session, of which the butcher photo was only one part, to be his personal comment on the mass adulation of the group and the illusory nature of stardom. As he later said, "I had toured quite a lot of the world with them by then, and I was continually amused by the public adulation of four people . . . "





Concernant l'ensemble du projet et sa vision du tableau final, il décrit précisément comment il voyait les choses et comment il aurait disposer les différents éléments pour arriver au résultat désiré.

Et c'est le concept de "triptyque" qui revient le plus souvent dans ses propos pour définir ce qu'il avait en tête. C'est à dire un tableau constitué de trois panneaux de bois assemblés ensemble, dont le plus grand est placé au centre, et les deux plus petits de chaque côté.

Une représentation donnant une symbolique spirituelle clairement assumée par le photographe : "It was part of three pictures that should have gone into an icon. If the trilogy or triptych of the three photographs had ever come together, it would have made sense. I wanted to do a real experiment - people will jump to wrong conclusions about it being sick, but the whole thing is based on simplicity -- linking four very real people with something real. I was trying to show that the Beatles were flesh and blood."

Puis, il rajoute comment les choses se seraient présentées : There is another photo which is the Beatles with a girl with her back toward you, hanging on to sausages. Those sausages were meant to be an umbilical cord. I got George to knock some nails into John's head, and took some sausages along to get some other pictures, dressed them up in white smocks as butchers, and this is the result -- the use of the camera as a means of creating situations."

Et voila donc à quoi aurait pu ressembler le fameux triptyque en question.



Un triptyque qui veut faire passer un message bien précis sur les Beatles et leur image d'idoles (on est en pleine Beatlemania) afin de les rendre plus humains et bien plus ordinaires que leur image pouvait le laisser apparaitre.

To that end, what he had planned was a triptych of pictures, something resembling a religious icon, to make the point that the Beatles were just as real and human as everyone else. The "butcher" photos, along with the other pictures from that session, are included in Whitaker's books of Beatles photographs, The Unseen Beatles.



La session-photo s'est tenu à Londres le 25 mars 1966, dans un studio du quartier de Chelsea, au 1 The Vale.
Voici le détail des photos qui ont été prises lors de cette session et l'explication qui va avec :

Arrow The first picture shows the Beatles, facing a woman who has her back to the camera, and hanging on to a string of sausages. This picture was supposed to represent the 'birth' of the Beatles, with the sausages serving as an umbilical cord.
Whitaker explained: "My own thought was how the hell do you show that they've been born out of a woman the same as anybody else? An umbilical cord was one way of doing it."



Arrow The photograph that would have been used for the other side of the triptych is one of George Harrison standing behind a seated John Lennon, hammer in hand, pounding nails into John's head.
Whitaker explained that this picture was intended to demonstrate that the Beatles were not an illusion, not something to be worshipped, but people as real and substantial as a piece of wood.



Arrow The center of the John and Ringo triptych (and the only pose taken in color) was to to have been the infamous butcher photo, showing the Beatles surrounded by slabs of red meat and dismembered dolls.
This picture was actually titled A Somnambulant Adventure, and its intent was to present a contrast, something shocking and completely out of line with the Beatles' public image.
As Whitaker revealed, the picture used on the Yesterday and Today cover was a rough, unfinished version : "If you could imagine, the background of that picture should've all been gold. Around the heads would have gone silver halos, jeweled. The finished picture would have offered a striking contrast between the Beatles' angelic image and the reality of the photograph."



Arrow A fourth picture, apparently not planned as part of the triptych (Whitaker isn't clear about this, mentioning only three pictures in his interview), can also be found in The Unseen Beatles. It features John framing Ringo's head with a cardboard box, on one of the flaps of which is written "2,000,000."
Whitaker again: "I wanted to illustrate that, in a way, there was nothing more amazing about Ringo than anyone else on this earth. In this life he was just one of two million members of the human race. The idolization of fans reminded me of the story of the worship of the golden calf."



That's all there is to it. The butcher photo was, as Whitaker says, snatched away and eventually used out of context.
As happened so many other times where the Beatles were concerned, someone retroactively invented an explanation for something that was mere coincidence or happenstance, and to a public largely willing to believe almost anything about the Beatles, it became an accepted truth.

As usual, the reality was quite different.





Voila. Donc rien ou si peu à voir avec tout ce que l'on a pu entendre ici ou là depuis toutes ces années.

A partir des explications fournies par Robert Whitaker, quelqu'un s'est amusé à imaginer ce que cela aurait pu donner.

Sur la première image du triptyque, voila comment il la présentait : "The front cover was to be a picture of them holding two strings of sausages coving out of the nether regions of a lady. The sausages are meant to be an umbilical cord. And then that image was going to be inset inside a pregnant woman's womb, and there was going to be an illustration of a breast with a nipple and a big womb, and the four Beatles laying inside her tummy all connected to an umbilical cord."

Sur la dernière : "John would actually have had a transparent film of wood grain over his face so that he looked like a wood block, which gives some explanation for why George is banging nails into his head. There would also have been a horizon with the sky where the water should be and the water where the sky was."

Une photo voulant représenter la "naissance des Beatles" symbolisée par un ventre de femme enceinte et le cordon ombilical matérialisé par ...un chapelet de saucisses. On suppose qu'il ne devait avoir que ça sous la main Wink
Et voila ce que cela pourrait donner :



La seconde représentant que les Beatles sont bien réels et non une illusion, une vue d'esprit. D'où le visage de John qui devait apparaître comme s'il était recouvert de bois pendant que George lui plante des clous sur la tête.

Oui, c'est spécial. Je vous avais prévenu...



Après, il décrit le panneau central du triptyque qui se réfère plus particulièrement à la Butcher Cover. Cette partie, intitulée "A Somnambulant Adventure", devait présenter un contraste entre leur image idolâtrée telle des Dieux, et le côté humain fait de chair et de sang avec leur blouse blanche, les quartiers de viande, les poupées démembrées, les fausses dents et autre œil de verre.

Whitaker n'a jamais terminé le rendu qu'il voulait obtenir à partir de la Butcher Cover mais il décrit précisément comment il voyait les choses pour donner un véritable sens à ce tableau (comme un peintre, oui) et non comme une suite de photos les unes après les autres ...ce qui n'aurait donner, à ses yeux, absolument aucun intérêt.

"If you could imagine, the background of that picture should have been all gold. Around the heads would have gone silver halos, jewelled. The [Butcher] cover was an unfinished concept. It was just one of a series of photographs that would have made up a gate-fold cover.
Then the background would have contained more gold, so it was rather like a Russian icon. It was just after John Lennon had said that the Beatles were more popular than Jesus Christ. In a material world that was an extremely true statement."

"Around their heads there would've been silver halos with precious stones and then the whole of the rest of it would've been like a Russian icon - silver and gold, so that I've sort of canonised them and put them into the church. The meat is meant to represent the fans, and the false teeth and the false eyes is the falseness of representing a god-like image as a golden calf."



On peut ainsi retrouver ces trois panneaux dans un tryptique de ce genre :



On comprend que la vision artistique qu'il en donne est assez "fumeuse", c'est le moins qu'on puisse dire.

On peut se demander si l'on est dans l'explication de texte ou si c'est plutôt de l'ordre du grand délire artistique.

Quoiqu'il en soit, dommage que Whitaker n'ait pas illustré lui-même comment il voyait les choses. Je sais que c'est un projet qu'il avait en tête, et il m'en avait d'ailleurs parlé lorsque je l'ai rencontré en 2003, à Liverpool. Mais, depuis, je ne pense pas qu'il ait pu réalisé quoique ce soit sur ce sujet. Et c'est bien dommage.

A chacun, donc, de se faire sa propre idée des choses.




Who butchered who ? : http://www.snopes.com/music/info/butcher1.htm

Got a Triptych to ride ? : http://www.earcandymag.com/triptychtoride-2009.htm



Filou
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MessagePosté le: Sam Mar 31, 2012 12:58 am    Sujet du message: Re: Robert Whitaker photographe incompris de la Butcher Cove Répondre en citant

Citation:
Quoiqu'il en soit, dommage que Whitaker n'ait pas illustré lui-même comment il voyait les choses. Je sais que c'est un projet qu'il avait en tête, et il m'en avait d'ailleurs parlé lorsque je l'ai rencontré en 2003, à Liverpool. Mais, depuis, je ne pense pas qu'il ait pu réalisé quoique ce soit sur ce sujet. Et c'est bien dommage.

Toujours rien de neuf sur ce sujet.
Et je crois bien que c'est définitivement exclu depuis que Whitaker a disparu (en sept 2011)

En 2003, son expo à la Mathew Street Gallery de Liverpool ressemblait à peu près à ce qui suit.
Et notamment avec cette magnifique affiche en papier argenté qu'il m'avait dédicacée à cette époque.

Je mettrai en ligne quelques-unes des photos de tout ça un de ces jours qui restent de très beaux souvenirs.






Le dernier cliché datant de 2006 à l'occasion d'une exposition qui lui était consacrée à Tokyo.

Filou


Dernière édition par Filou le Mer Avr 15, 2015 1:37 pm; édité 1 fois
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jplemarteleur



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MessagePosté le: Sam Mar 31, 2012 9:22 am    Sujet du message: Re: Robert Whitaker photographe incompris de la Butcher Cove Répondre en citant

Filou a écrit:
En 2003, son expo à la Mathew Street Gallery de Liverpool ressemblait à peu près à ce qui suit.
Et notamment avec cette magnifique affiche en papier argenté qu'il m'avait dédicacée à cette époque.

Je mettrai en ligne quelques-unes des photos de tout ça un de ces jours qui restent de très beaux souvenirs.



Super Filou ( pas toi , l affiche bien sur ! et ce dossier ) Amitiés

JP
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MessagePosté le: Ven Mai 24, 2013 6:20 pm    Sujet du message: Re: Robert Whitaker photographe incompris de la Butcher Cove Répondre en citant

Oui, merci JP. Content que ça te plaise tout ça.


Ah, voila déjà l'affiche de l'expo de 2003 à Liverpool que l'on voit un peut mieux.
Ce n'est pas la mienne mais c'est exactement la même... (+ personnalisé)

Et puis aussi un certificat d'authenticité qui l'accompagnait pour une vente aux enchères.

Elle est rudement chouette, cette affiche, y a pas à dire.
Il faut l'imaginer avec ce rendu argenté (et la signature avec un feutre spécial)
qui fait aussi qu'elle est très difficile à photographier. Mais encadrée, ça rend super-bien.



Filou
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MessagePosté le: Mer Avr 15, 2015 3:20 pm    Sujet du message: Whitaker Somnambulant Adventure Répondre en citant

La voila, l'affiche de l'expo qu'il m'a signée à l'époque où j'y étais pour la Beatleweek.
C'était en 2003. Comme indiqué sur l'affiche.

Pas facile à prendre en photo avec l'aspect argenté de l'affiche.
Du coup, ça rend bien au mur mais pas simple à rendre bien en photo.

Et à côté, l'affiche-promo de l'année suivante pour le numéro spécial de MOJO et la même galerie.




Filou


Dernière édition par Filou le Mer Avr 26, 2017 1:28 pm; édité 1 fois
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MessagePosté le: Mer Mar 29, 2017 5:55 pm    Sujet du message: Re: Whitaker Somnambulant Adventure Répondre en citant

Une belle pochette imaginée à partir de ce que disait Whitaker sur son projet en utilisant quelques unes des photos de la session.

Ce n'est pas exactement ça mais il y a de l'idée.



Je trouve que c'est plutôt bien vu comme ça.

D'après lui, au recto on aurait plutôt eu le montage du ventre d'une femme enceinte de profil avec le groupe dans le ventre et John tenant un médaillon de saucisse sensée représenter le cordon ombilical.



Voila ce que ça aurait pu donner d'après le dessin qu'il m'a fait à Liverpool (lors de mon passage en 2003 dans la galerie où il exposait) en même temps qu'il m'expliquait comment il voyait les choses à l'époque. Du coup, j'ai récupéré la feuille avec cette esquisse qu'il a bien voulu me signer en plus. Sympa, le gars.



Voila donc à quoi aurait pu ressembler une pochette d'album des Beatles. Ca fait bizarre mais bon. Pourquoi pas ? Il faut imaginer un truc bien ficelé avec un montage de photos et de dessins peut-être (un peu dans le style de Revolver). Et puis ensuite, au verso, d'autres photos de la session montées telles que Whitaker le décrit, dont la fameuse photo de la Butcher mais en plus petit et avec les pierres précieuses et halos au dessus de leur tête.



Les dernières explications Whitaker avant sa mort (en 2011) d'après une interview donnée pour le magazine MOJO en 2004 :

Only Whitaker knew the exact manner in which the triptych would have been assembled, and he offered several different explanations prior to his death in 2011.

The first image, slated to be the cover of a gatefold sleeve, depicted a woman with her back to the camera, genuflecting before the Fab Four, who stand clasping a string of sausages. According to Whitaker, this represented the "birth" of the Beatles, humans like everyone else. "The sausages are meant to be an umbilical cord," he said in a 2004 Mojo profile. "And then that image was going to be inset inside a pregnant woman's womb, and then there was going to be an illustration of a breast with a nipple and a big womb, and the four Beatles laying insider her tummy all connected to an umbilical cord."

The second image, the famous "butcher" shot, conveyed the idea that the Beatles were in danger of being dismembered – both physically and psychically – by their celebrity. "It would've been two-and-a-quarter-inches square in the center of a 12-inch sleeve," Whitaker told Mojo of the photo. "Around their heads would have been silver halos with precious stones and then the whole of the rest of it would've been like a Russian icon – silver and gold, so that I've sort of canonized them and put them into the church. That meat is meant to represent the fans, and the false teeth and the false eyes is the falseness of representing a god-like image as a golden calf."

The third image shows George Harrison hammering a nail into a blissful John Lennon's head. Unlike the illusion of fame, the musicians were as real and sturdy as a piece of wood. "John would actually have had a transparent film of wood grain over his face so that he looked like a wood block," Whitaker later recalled. "There would also have been a horizon with the sky where the water should be and the water where the sky was."

Despite, or perhaps because of, these grandiose concepts, the Mop Top icon was destined to remain incomplete. Reasons are unclear to this day, but only the "butcher" photo made it to the record label. "They didn't have the other pictures – the keys to unlock it. So it was a cock-up, and I guess it upset a lot of people." Whitaker lamented in Mojo.




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MessagePosté le: Mer Avr 26, 2017 2:04 pm    Sujet du message: Re: Whitaker - A Somnambulant Adventure Répondre en citant

On peut retrouver tous les éléments de ce puzzle en forme d'un triptyque imaginé par Whitaker dans cet artwork fait maison et souhaitant exprimer l'idée qu'il formulera plus tard comme : 'something resembling a religious icon, to make the point that the Beatles were just as real and human as everyone else'.

Avec tout ça, on peut voir à quoi aurait pu ressembler cette pochette que le photographe avait en tête en mettant en place la session-photo dite "butcher-session" du 25 mars 1966.

Le concept général du projet qu'il appellera plus tard "Somnambulant Adventure".



On y retrouve tous les thèmes autour de l'idée 'birth, life and death' tel que Whitaker l'avait en tête à la base : the 'birth' of the Beatles (avec la photo des saucisses symbole du cordon ombilical intégrée dans le vente d'une femme enceinte), le concept intitulé 'A Somnambulant Adventure' avec l'image angélique du groupe contrastée entre leur image idolâtrée telle des Dieux, et le côté humain fait de chair et de sang avec blouses blanches, quartiers de viande, poupées démembrées, fausses dents..., the 'idolization of fans' qui surévaluait la tête de chaque membre du groupe (Ringo et sa tête mise en boite par John avec un mise à prix de $2,000,000), the 'illusion of fame' (the musicians were as real and sturdy as a piece of wood) et la difficulté à discerner l'imaginaire de la réalité symbolisée par l'absurdité d'une image où l'eau et le ciel seraient inversés pendant que George plante des clous dans une tête de John faite de bois (les Beatles sont bien réels et non une illusion)... le tout avec une mise en scène destinée à casser l'image des Beatles et les faire 'redescendre sur terre' pour n'être plus vus tels que les voient les fans mais comme des êtres humains.

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