Some new child exploitation artist names: Michal Chelbin and Sally Mann (pizzagate)

submitted ago by Vindicator

Time for more digging, folks. QAnon started dropping names tonight related to Rachel Chandler, the Epstein sex slave-turned modeling photographer we exposed two years ago. He's urged anons to dig into before (the last time, right before Voat went down for three days last April).

He's made dozens of child trafficking related posts today. You can see them all, here. A couple of notables:

"Ray Chandler = Allison Mack x 100"

"THE STANDARD HOTEL. RACHEL CHANDLER."

And he dropped a link to a new artist I hadn't heard of:

" http://www.michalchelbin.com/portfolio_in.asp?id=1477&type=100228&sub_title=Strangely_Familiar&langid=1 Connection to Ray Chandler? Are you awake?"

So I did a little digging into Michal Chelbin. She's an Israeli artist who features "art" portrait photography of kids with dead eyes, topless preteens with their fathers in disturbing positions, naked underwater, and groups of topless girls hugging. She says:

"My images are vehicles to address universal themes: family issues, ideas of normality, puberty with its all incumbent pains and distractions, the desire for fame. An example of this is the adolescent girls I photograph, many of them are on the verge of sexual consciousness. They are in this difficult age, torn between innocence and experience. While their bodies might be still that of a child, their gaze sometimes imply differently. I try to create an informal scene, in which they directly confront the viewer. I feel they and their stories represent with most clarity the theme that interests me the most and which is the twilight zone between reality and fantasy. My aim is to record a scene where there is a mixture of direct information and enigmas and in which there are visual contrasts between young and old, large and small, normal and abnormal. My playground lies between the private and the public, between fiction and documentary. For me, the image is just the tip of the iceberg; it’s the gate to a story waiting to be told and which I try to depict in an appealing yet troubling way."

QAnon then dropped the link to the FBI tip line, like he did last year.

I'm not getting the connection between Chelbin and Rachel Chandler, though, other than they are both creepy female photographers with pedo-appeal photography.

While I was Google image searching Chelbin, Google offered up another "art" photographer doing "similar" work, Sally Mann. NSFW -- fully naked preteens. The second photo in the "Family Color" series is a little girl on a couch, naked, with claw marks on her stomach, titled "Dog Scratches." https://archive.fo/z2K05

(NSFW) Mann is apparently a famous America photographer roundly criticized for her naked kid photography, including a kid in a ditch, as well as her book of corpse photography.

The exhibition was divided into five sections that "visually depict[ed] the eternal cycle of life, death, and regeneration."[5]

Mann was inspired to produce the photographs in the book by her reactions to several different events. The first of these was the death of her father; later events that inspired her interest in death were the shooting of a prison escapee on the grounds of her Lexington, Virginia, farm and the death of her pet greyhound, Eva.[2] Mann arranged for Eva's skin to be preserved by tanning and buried her body in a cage in order to prevent the remains from being carried off by wild animals. She later dug up the cage and photographed the dog's skeletal remains.[2][6] A series of photos documenting Eva's decomposition is included in the book.[1][7]

Despite the fact that some critics found the images off-putting, Mann expressed surprise that the book did not garner the controversy of her previous books which featured nude photos of her young children. While giving the book a favourable review, Blake Morrison expressed his surprise that no one had questioned her right to publish photographs of the dead when there had been extensive protests over her images of her children.[2]

Nothing to see, there!?

Anyone care to dig more? I'm short on time at the moment. Neither of these artists came up in a SearchVoat of our archives.

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NOMOCHOMO ago

https://mobile.nytimes.com/2015/04/19/magazine/the-disturbing-photography-of-sally-mann.html .

This lady and family fetishises child abuse and poverty

"The family portraits began in 1984, when Jessie came home from a neighbor’s, her face swollen with gnat bites. Mann put her against a wall, took a dead-on picture and called it “Damaged Child.” “That picture made me aware of the potential right under my nose,” she says. The next day, with Jessie’s face still lumpy, she arranged props around her and took more pictures. From its inception, the family series has played around with these two antagonistic elements: factual documentary and contrived fiction.

For some time, Mann had been PHOTOGRAPHING YOUNG GIRLS in and around Lexington, several of whose parents had been delivered into the world by her father, for the book published in 1988 as “At Twelve.” She wanted to catch the tension in their bodies, eyes and gestures as they passed into the confused state when girls become women. The PICTURES DRAMATIZE BURGEONING SEXUALITY, while implying the more forbidden topics of INCEST and CHILD ABUSE. Mann’s laconic captions lend a parental concern, honed with a feminist edge. Some of the poses seem casual; others, carefully directed.

In her pictures of her own family — like "DAMAGED CHILDREN,” with its IMPLICATION OF BATTERING, and “Flour Paste,” in which Jessie’s legs resemble a burn victim’s — Mann punches the buttons of her viewers. Upon discovering that she has stage-managed a scene, some people feel cheated, as if their emotions have been trifled with. “I hope you can get past that,” she argues. “You learn something about yourself and your own fears. Everyone surely has all those fears that I have for my children.”

Mann has been criticized for treating violence with an esthete’s dispassion, for bringing out the subtle texture of blood and bruises without offering a clear political statement along the way. The IMAGERY OF DEATH fascinates her. A picture of Virginia with a BLACK EYE moved her for a long time because “you couldn’t tell if she was living or dead. It looked like one of those Victorian post-mortem photographs.” In 1987, Emmett was struck by a car and thrown 50 feet. Though he escaped critical injury, Mann saw the real thing as a warning not to pretend again. Still, “Immediate Family” includes a picture from 1989 that may be the most gruesome so far: a NUDE VIRGINIA seeming to havE HANGED HERSELF BY A ROPE from a tree."

NOMOCHOMO ago

As she writes in the introduction to “Immediate Family,” Sally Mann inherited the role of provocateur from her father, Robert Munger, a doctor who made house calls in an Aston Martin and delivered hundreds of babies in Lexington. A renowned gardener, with shrubs and trees from around the world, he was also an atheist and an amateur artist whose keen sense of the perverse delighted his two sons and daughter. For a long time he kept a white, snakelike figure on the dining-room table; only slowly did anyone realize it was petrified dog excrement."

"It was he who instilled a shameless attitude toward the flesh in his daughter, photographing her nude as a girl — “terrible art pictures,” says Mann with a groan — and posing himself unclothed for a recumbent sculpture that now occupies a shelf in his wife’s den. Mann’s introduction expresses stronger memories for the black woman, Virginia Carter, who oversaw her upbringing than for her own mother. Elizabeth Munger, a dead ringer for her daughter, says, “Sally may look like me, but inside she’s her father’s child.”

This is the same issue Berger writes about in Ways of Seeing. Art has historically objectified the subjects it depicts. Images of Children and women both are for the male viewing eye.

NOMOCHOMO ago

You know Mann's book which "DRAMATIZE[s] BURGEONING SEXUALITY, while implying the more forbidden topics of INCEST and CHILD ABUSE."?

https://en.m.wikipedia.org/wiki/Sally_Mann#/media/File%3AUntitled_by_Sally_Mann_from_"At_Twelve".jpg

In one image from the book (shown to the right), Mann says that the young girl was extremely reluctant to stand closer to her mother's boyfriend. Mann said that she thought it was strange because “it was their peculiar familiarity that had provoked this photograph in the first place”.

Mann didn't want to crop out the girl's elbow but the girl refused to move in closer. According to Mann, the girl's mother shot her boyfriend in the face with a .22 several months later. In court the mother “testified that while she worked nights at a local truck stop he was ‘at home partying and harassing my daughter.’” Mann said “the child put it to me somewhat more directly”. Mann says that she now looks at this photograph with “a jaggy chill of realization”.