TABLE OF CONTENTS

PRINT October 1994

OPENINGS: INEZ VAN LAMSWEERDE

She threw a leg across him and he touched her face.

Unexpected hardness of the implanted lenses. “Don’t,”

she said, “fingerprints.”

William Gibson, Neuromancer, 1984

ABOUT EIGHT YEARS AG0 I lived for a while with Richard Prince’s Spiritual America, 1983. The photograph was outfitted with a brass masterpiece lamp, so that a sheet of light ran down the center of Brooke Shields’ glazed body; until the bulb blew, I used it as a night-light, so whenever I woke up I saw Brooke glistening in the tub, beckoning me with her huge painted face and baby’s body. The image, which had been the subject of a pornography lawsuit, made me nauseous and guilty: seduced by the artificial sexiness hatched by a makeup artist, I had been roped into a pedophilic fantasy.

I got the same queasy feeling when I first saw Dutch photographer Inez van Lamsweerde’s “Final Fantasy,” 1993. In this series of portraits,

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