High quality art plates, exclusively designed and executed for THE RITA.
“My guess is that a lot of people reading this book know something personal about immersion. The experience of watching meaning change over time solely for yourself, depth being equal to the ease with which you get information, the ability to ‘read’ that information, the extent to which you can invest yourself in that information. Things you see, you can see over and over, because you love them. Love is best and most correct when you know something but you feel like you can never truly own it—no matter what, it is always outside of you.” —Gabrielle Losoncy
My eight years of ballet training culminated, for me, in the opposite effect than Sam McKinlay's immersion. I found myself in touch with everything that was outside of myself; increasingly out of step with my body and more frequently at a loss for a worldsystem with which to view my balletic knowledge, (ballet provides a thinking-feeling framework of its own for everything outside of it if you approach it correctly; evidently I approached it incorrectly and cannot be blamed, I was eight) all of which is to say that this book subverts its own trappings in its urgency, in the manner that urgency arises out of calm. All of which is to say that my language cannot enter the liminal space suggested around the edges of this construct: overt ritualism is rigidity. Rigidity is not artful. Artfulness is pantomime / sex / brainspace.
The erosion of Melies; construction of the post-model.
Essential for assistance in understanding Sam McKinlay's current efforts as THE RITA, as established over the past 5 years or so. Great introduction by Gaby Losoncy.
Its horrendous color scheme and rough around the edges graphic design might shy away some. Those that persist however will find a very insightful introduction by Losoncy and an essential reference to interpret the last few years of The Rita’s output.