January 16, 2010
Keith emulates the look to see if it will catch on. Mick feigns approbation, but clearly has no idea what is happening.
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January 16, 2010
Always one to set trends rather than respond to them, Bowie looks dismayed on the cover art of Hunky Dory (1971), realising that he must hang with the in crowd if he is to stay relevant.
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January 16, 2010
At this women’s rights rally, Elizabeth Cady Stanton elicits both the potential for speech at a distance as well as the social penance of what Sadie Plant has described as “enforced eavesdropping”.
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January 16, 2010
The Jury may still be “out” in this scene from Sidney Lumet’s 1957 courtroom drama, 12 Angy Men, but at least one member unwittingly imagines another, if temporary, adjournment.
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January 16, 2010
This image reveals decisive, evolutionary variations in the unconscious occupation of the hands that would become more refined and voluntary over time.
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January 16, 2010
Rolling Stones’ manager Andrew Loog Oldham attempts to recruit a diffident Charlie Watts to “the look”.
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January 16, 2010
Clearly fed up with the timidity of the other Stones, Bill Wyman boldly takes possession of “the look” on the cover art of his second solo album Stone Alone (1976). The self-assured composure and smugness disclose the demeanour of a man who knows, without quite knowing why, he is making history. Stone Alone did not.
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January 16, 2010
Bill basks in self-congratulation, knowing that at least two people bought, or at least have seen Stone Alone. Its influence exceeds his expectations as Paul McCartney brings a new inflection to “the look”.
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January 16, 2010
Prior to his entry into the world of commercial illustration, a young Andrew Warhola imagines an alternative form of manual imagery. His nephew is the unsuspecting prop.
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January 16, 2010
In New York Warhola refines the gesture into a more self-conscious vogue.
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