Classic rock album covers reimagined by Eric White. In addition to Rumours, pictured above, White’s show (on view at Sloane Fine Art in New York) includes new takes on Houses of the Holy, Wish You Were Here, Who’s Next, Songs in the Key of Life and Hot Rats.
“My eyesight, as eyesight, is perfectly good. But how the brain deals with what my eyes can see can be pretty ropy. For instance, I might glance down and not see that cup on the floor. If you told me the cup was there, I would see it. However, the brain is filling up the space with something else. But because I come out with words properly used, like apprehension, you think there can’t be anything wrong with this guy.”
Do you remember where you were when the Death Star exploded?
Bats dropping in for a late-night drink. Remarkable photography.
Talk about having too much sex on the brain.
Why can’t American conservatives be as smart (or as relatively sane) as their European brethren?
“The big blowhard Michael Moore is a hugely successful left-wing carnival barker in a culture of right-wing carnival barkers, and for that he deserves our admiration. He has, it is true, been caught playing fast and loose with timelines — not a negligible crime. But he rarely stoops to the level on which his rivals permanently reside: He’s obnoxious but not corrupt. He doesn’t spew talking points. He’s out there, on the streets, corralling evidence to support his theses (or thesis — there’s really only one). And he is, point for point, difficult to refute. His new cinematic circus, Capitalism: A Love Story, is the film to which he has been building for the last two decades. It’s sprawling, scattershot, sniggery, and, in one instance, exploitative. It’s brazenly one-sided. But Moore calls questions that no one else in the mainstream corporate media goes near. His other films focused on symptoms. This one tackles what he sees as the disease.”