Wednesday, April 20, 2016

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http://www.dailymail.co.uk/femail/article-2361902/Dian-Hansons-History-Pin-Magazines-traces-glamour-girls-century.html


Cartoon bloomers, bikinis and baring (almost) all: A history of pin-up girls from demure 1900 to the racy Seventies

Published: 19:37 GMT, 15 July 2013 | Updated: 19:00 GMT, 16 July 2013
The face pornography has changed dramatically since 1900, when the pin-up girl was simply an illustrated fantasy.
From a glamor girl's leaner silhouette, to her long legs and covered-up figures, the pin-up was lauded for entirely different reasons than she is today.
A new book, Dian Hanson's History of Pin-up Magazines, published by Taschen, tracks the pin-up girl's evolution from 1900 to 1969 through three volumes.
History of the pin-up: The face pornography has changed dramatically since the 1900's, when the pin-up girl (pictured here in 1926) was simply an illustrated fantasy
History of the pin-up: The face pornography has changed dramatically since the 1900's, when the pin-up girl (pictured here in 1926) was simply an illustrated fantasy

'The biggest change in pin-up from 1900 to 1969 is the loss of illustrated covers,' Ms Hanson told MailOnline.
'Up until WWII the majority of covers were painted. With the war shortages publishers struggled to keep publishing and cut expenses wherever they could.
Illustrated fantasies: From a glamor girl's leaner silhouette, to her long legs and covered-up figure, the pin-up (pictured in 1926) was lauded for entirely different reasons than she is today
Illustrated fantasies: From a glamor girl's leaner silhouette, to her long legs and covered-up figure, the pin-up (pictured in 1926) was lauded for entirely different reasons than she is today
Painted vs photos: 'Up until WWII the majority of covers were painted,' explained Taschen's Dian Hanson (pictured, cover from 1927)
Painted vs photos: 'Up until WWII the majority of covers were painted,' explained Taschen's Dian Hanson (pictured, cover from 1927)
Different content: Many men's magazine featured jokes, with small illustrations of women in lingerie (pictured, a cover from 1934)
Changing content: Many men's magazine featured jokes, with illustrations of women in lingerie (pictured, a cover from 1934)


Picture perfect: An illustrated cover of Movie Humor from 1936
Picture perfect: An illustrated cover of Movie Humor from 1936
Double meaning: Often, men¿s magazines would masquerade as movie magazines, humor magazines, art magazines, or 'spicy' fiction (pictured, 1936)
Double meaning: Often, men¿s magazines would masquerade as movie magazines, humor magazines, art magazines, or 'spicy' fiction (pictured, 1936)
'Abandoning costly cover artists was one such cut. At the same time, men became accustomed to photographic pin-ups during the war and preferred these more realistic representations of women afterwards.'
While American magazines like Vanity Fair featured photographs during the early 1900's, the magazine showed women in their corsets and bloomers, rather than nude.
Drawn rendition: Before pin-up stars like Diane Webber, Bettie Page and Marilyn Monroe, artists drew their ideal women for magazine covers (pictured, 1942)

Drawn rendition: Before pin-up stars like Diane Webber, Bettie Page and Marilyn Monroe, artists drew their ideal women for magazine covers (pictured, 1942)




Another famous men's magazine, Cap'n Billy, featured jokes, with small illustrations of women in lingerie.
It was only after WWI that new pin-up magazines started popping up because men had gotten a taste for them while fighting in other countries.
Over to America: German magazines became banned and the French pin-up magazines were wiped out during WWII, with the exception of La View Parisienne, and the U.S. begane to take over the field (pictured, a cover from the Fifties)
Over to America: German magazines became banned and the French pin-up magazines were wiped out during WWII, with the exception of La View Parisienne, and the U.S. begane to take over the field (pictured, a 1950s)
New covers: It was only after WWI that new pin-up magazines started popping up because men had gotten a taste for them while fighting in other countries (pictured, cover from 1957)
New covers: It was only after WWI that new pin-up magazines started popping up because men had gotten a taste for them while fighting in other countries (pictured, cover from 1957)

No more illustrations: 'Men became accustomed to photographic pin-ups during the war and preferred these more realistic representations of women afterwards,' explains Mr Hanson (pictured, a cover from the Sixties)
No more illustrations: 'Men became accustomed to photographic pin-ups during the war and preferred these more realistic representations of women afterwards,' explains Mr Hanson (pictured, a cover from the Sixties)


English rose: The English magazines (pictured, British magazine Carnival 1960) were never as explicit and showed more ordinary women, the girl or wife next-door,' said Mr Hanson
English rose: The English magazines (pictured, British magazine Carnival 1960) were never as explicit and showed more ordinary women, the girl or wife next-door,' said Mr Hanson
End of an era: As the Seventies approached and obscenity laws loosened, the traditional pin-up girl started to disappear as more explicit images took over the pornography industry (pictured, 1969)
End of an era: As the Seventies approached and obscenity laws loosened, the traditional pin-up girl started to disappear as more explicit images took over the pornography industry (pictured, 1969)


New wave: An explosion of new American pin-up magazines followed the loosening of U.S. obscenity laws, and continued with nudists going hippy and political, according to Mr Hanson's new book
New wave: An explosion of new American pin-up magazines followed the loosening of U.S. obscenity laws, and continued with nudists going hippy and political, according to Mr Hanson's new book (pictured in1969)

In France, La Vie Parisienne, Le Frou-Frou, L'Etude Academique, Le Sourire were 'gossipy nightlife guides with sophisticated semi-nude photos, sly illustrations and humor,' explained Ms Hanson.
Meanwhile the German, 'high-minded' nudist titles like  Kraft und Schonheit (Strength and Beauty) and Die Schonheit (Beauty) had 'completely nude photos of women and men along with philosophical and political screeds,' the author said.
History of the pin-up: Dian Hanson traces the fascinating development of pin-up girls from 1900 to 1969 in a new book
History of the pin-up: Dian Hanson traces the fascinating development of pin-up girls from 1900 to 1969 in a new book

So while the German magazines were banned and the French pin-up magazines were wiped out during WWII, with the exception of La View Parisienne, the U.S. took over the field.
'WWII magazines were all about supporting military morale and had no nudity, but after the war the magazines featured strippers and naughtier girls,' said Ms Hanson.
'Then Playboy came along in 1953, inspired by WWII pin-up photos Hef [Hugh Hefner] saw in Esquire, and all the world copied Playboy.'
According to Mr Hanson, the top five pin-up covergirls in ascending order were Diane Webber, June Wilkinson, Jayne Mansfield, Bettie Page and Marilyn Monroe.
'The bottom three were mainly known for their large breasts, which were the most popular female attribute in the 1950s, while the top two more for their faces and charisma, proving the face always wins out,' she said.

As the Seventies approached and obscenity laws loosened, the traditional pin-up girl started to disappear as more explicit images took over the pornography industry.

'By the nature of the word pin-up, [the girls] are meant to be publicly displayed, and were put on a pedestal as a fantasized girlfriend,' explained Ms Hanson.
'Whereas the photos in explicit magazines were kept hidden, and the models were put to different purposes, shall we say.'



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Duchamp, Eat Your Heart Out: The Guggenheim Is Installing a Gold Toilet

Art & Design

Duchamp, Eat Your Heart Out: The Guggenheim Is Installing a Gold Toilet

By RANDY KENNEDY
An image created by the artist Maurizio Cattelan of his solid-gold toilet. It is to be installed in a bathroom in the Guggenheim Museum in May. Maurizio Cattelan
Unlike professional athletes, actors (Gene Hackman) and some novelists (Philip Roth), visual artists don’t usually retire. Or if they do, they don’t announce it.
But in 2011, Maurizio Cattelan — one of the most expensive living artists, then at the peak of his career and the subject of an uproarious retrospective at the Guggenheim Museum — told the world that he was finished, fatigued both creatively and by the velocity of the money-fueled art world. During the last couple of years, though, Mr. Cattelan found himself itching to make things in three dimensions again. “Actually, it’s even more of a torture not to work than to work,” he said in an interview. And so he is coming out of retirement with a new sculpture that seems designed to proclaim his return with an exclamation point, though the piece is of modest size and will not be on view in a public gallery.
It will, instead, be installed in early May just off one of the ramps of the Guggenheim Museum in Manhattan, in a small, humble room where visitors often feel the urge to spend some time alone. The room has tiles, a sink, a mirror and a lock on the door. And now, instead of its standard Kohler toilet, it will have a solid 18-karat-gold working replica of one, a preposterously scatological apotheosis of wealth whose form is completed in its function: You could go into the restroom just to bask in its glow, Mr. Cattelan said, but it becomes an artwork only with someone sitting on it or standing over it, answering nature’s call.
“There’s the risk that people will think of it as a joke, maybe, but I don’t see it as a joke,” he added, on a recent trip from his home in Milan to New York, where he lived for many years. Mr. Cattelan, who grew up poor in Padua, Italy, the son of a truck driver and a cleaning woman, was asked if economic inequality figured into his thinking about the piece. “I was born in a condition where I was — how do you say? — forced to think about that. It’s not my job to tell people what a work means. But I think people might see meaning in this piece.”
In one sense, the sculpture is a punning extension of his work on the ribald picture magazine he founded in 2010 with Pierpaolo Ferrari, called Toilet Paper. The toilet also has obvious 20th-century art-historical precedents: Marcel Duchamp’s “Fountain,” the urinal he unsuccessfully submitted to an exhibition in New York 99 years ago this month, and Piero Manzoni’s “Merda d’Artista,” metal cans with the contents labeled as the artist’s feces, each can priced according to its weight in gold. Though Mr. Cattelan began thinking about the piece before the United States presidential campaign was in full swing, the conspicuous gaudiness of the solid-gold facility will surely evoke Donald J. Trump’s taste for gold-plated bathroom fixtures, and the sculpture’s title, “Maurizio Cattelan: ‘America,’” inspired by Kafka’s novel “Amerika,” will engender some heavy-duty interpretations.
Nancy Spector, the longtime chief curator at the Guggenheim, said the Occupy movement and growing concerns over the concentration of wealth immediately came to mind when Mr. Cattelan approached her to see if the museum was interested in hosting the toilet. “I think this is going to enter into that discourse, and we have to be prepared for the reactions that people are going to have to it,” said Ms. Spector, who recently left the Guggenheim to become chief curator and deputy director at the Brooklyn Museum. She added that when she presented Richard Armstrong, the Guggenheim’s director, with Mr. Cattelan’s idea, “within two seconds he said, ‘Do it.’ It made so much sense.” (Neither Mr. Cattelan nor museum officials would reveal the sculpture’s cost, but they said it was being paid for with private funds and would remain at the Guggenheim for the foreseeable future.)
Maurizio Cattelan Josh Haner/The New York Times
Guggenheim officials said that they anticipated lines for the Cattelan bathroom and added that a guard or attendant might be placed near the door to ensure orderly waiting — and also to make certain that no one tries to abscond with a piece of the toilet.
They added that 18-karat gold was chosen for its solidity, though they acknowledged the possibility that the sculpture still could be scratched or damaged.
Mr. Cattelan is known as both a public jester and an intensely private figure, and he said that the decision to retire at 51 was agonizing. The debut of the piece comes as he is emerging into public view in a way he never quite has before in his career. “Maurizio Cattelan: Be Right Back,” a documentary that the filmmaker Maura Axelrod has spent more than a decade making, will debut on Sunday at the Guggenheim as part of the Tribeca Film Festival. “I didn’t know he was planning to announce his retirement when I started making the movie,” said Ms. Axelrod, who came to the project after a career as a journalist covering wars and regions in crisis. “And then, as I was finishing it, he decided he was going to come back. So ‘Be Right Back’ really ended up being the appropriate title.”
Mr. Cattelan cooperated only reluctantly with Ms. Axelrod, but through interviews with family, friends and art-world associates, a picture emerges of a fairly dark soul, afflicted with deep self-doubt and pessimism about humanity — a take Mr. Cattelan has parodied in his own work, raising the possibility that this worldview might be a bit of an act. After so many years delving into his persona, Ms. Axelrod said, “I don’t think I got very close to figuring out what he’s really like.” As to whether he should be seen as a significant artist or more a phenomenon of the star-making art market, she added, “I hope that that question is still on the table and I’ve just put more information into the debate.”
In the recent interview, Mr. Cattelan said the art market’s emergence over the last dozen years as a kind of hedge fund for billionaires was not his primary motivation for retiring. “But the way it felt was like driving a car and someone else was controlling the speed,” he said, adding that his retirement angered many of his collectors, who feared it would cause the value of his work to decline. That seems not to be the case. A 2001 work, “Him,” a jarringly realistic boy-size Hitler on his knees, is expected to sell at a Christie’s auction in May for between $10 million and $15 million, which would break an auction record for Mr. Cattelan’s work, set in 2010, of almost $8 million.
Creating the toilet, Mr. Cattelan said, gave him a way “to get around the wall I had hit,” and he said coming out of retirement could give him more say in how his older work is exhibited.
As for new work, he said, he has come up with only one other idea, which he is keeping to himself. With a smile and a shrug, he said, “I have limited vision.”
A version of this article appears in print on April 20, 2016, on page C1 of the New York edition with the headline: A Golden Throne for the Guggenheim. Order Reprints| Today's Paper|Subscribe

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Donald Trump's Jet, a Regular on the Campaign Trail, Isn't Registered to Fly


Donald J. Trump exiting his Cessna jet on Jan. 24. Records kept with the Federal Aviation Administration show that the registration on the plane lapsed on Jan. 31.

By SUSANNE CRAIG

Records kept with the Federal Aviation Administration show the registration for the Cessna lapsed on Jan. 31; the plane could be grounded while the issue is sorted out.
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