Smiley and dolphins, 2013
Lisa and Louise Burns were twelve years old when they played the Grady Twins in The Shining. It was the only film appearance for the sisters.
In a June, 2002 issue of JANE magazine, the twins, then 35, recalled running around in the Hedge Maze set, getting lost and forcing crew members to remove panels to let them out. They discussed still owning a pair of the dresses they wore in the film, and Louise recalled, “I got to keep a jar of fake blood. I stored it in the fridge until it congealed.”
While I was dashing reportage into my vodka-wet annual day planner, I kept ticking little dots of indigo ink onto the page, trying to remember what this whole charade reminded me of. It wasn’t until the next morning, sore from the open bar and its tenders who clearly weren’t hired for their mixology skills, that I remembered. The violet and aquamarine, the plasticity and waxed grooming, the ‘90s retrofuturism, the jumbo screens, the hierarchical stage design, the voice booming over loudspeaker, “AAAND NOW, GRIMES.”
Hunger Games, duh!
Would that I had a more cultured reference, but this is Versus Versace in the 21st century (Rodarte, Black Swan; Balenciaga, Twilight; Chanel, Anna Karenina; Prada, The Great Gatsby; Versace, Hunger Games).
Nobuyoshi Araki is a Japanese art photographer known to many on Tumblr as the tag tied to pictures of languid and rope bound Japanese women. Araki also shoots cities (Tokyo, mostly) and flora, but in the Arakiverse, flowers are never just flowers, nor are cracks in the pavement, or bananas, obviously. His lens, he famously said, “has a permanent erection.” Fully clothed, Araki women are always still in a state of undress. Completely naked—suspended “M ji kaikyaku tsuri shibari” (hanging letter M, open leg binding) or “sakasa ebi shibari” (reverse shrimp binding)—they wear only their humanity, with asanawa rope. Araki calls his process, “making love, naked love.” Gravity is essential. As is grace.