Art:”Book for Architects” Wolgang Tilman @ the Met /Jan26th -July25th ,2015

He is a modern visual poet . Revealing our obvious lost of a certain romanticism just through his use of a basically unromantic medium(that being photography) and his fluid embrace  and use of thoroughly early- modernist points of departure…his frame  is often reminiscent of the early Constructivist…Rodchenko in particular and seems equally informed by  post seventies photo-journalism as it is by Post-modern Contemporaries like Nan Golden for example  ..and yet the feeling I get from Mr .Tilman’s work is one of looking at a Monet or a Manet …he views the everyday in a very Romantic ,eloquent and yet banal way .What’s more a Tilman show is always a delight because the artist uses the gallery space like Alexander Lieberman would have used a page in Vogue …The space becomes integral to the Narrative ..lets hope he does the same at   The Metoi

Wolfgang Tillmans’s installation Book for Architects (2014) is on view at the Metropolitan Museum for the first time since its debut at the 2014 Venice Architecture Biennale. Over a period of ten years, Tillmans (German, born 1968) photographed buildings in thirty-seven countries on five continents to produce Book for Architects. The 450 photographs are presented in a site-specific, two-channel video installation projected onto perpendicular walls.

Book for Architects shows architecture through the eyes of the artist. Tillmans seeks to express the complexity, irrationality, madness, and beauty found in quotidian buildings, street patterns, and fragments of spaces. He achieves this from a technical standpoint by using standard lenses, which most closely approximate the perspective of the naked eye. Additionally, Tillmans designs the experience of the exhibition in the installation space itself—from the proximity and arrangement of the projected images to the seating, which is designed in a bleacher-like arrangement to enable a range of perspectives and views of the work. Through this cyclic series of photographs of largely anonymous building exteriors, interiors, city shots, and street views, Tillmans presents a personal portrait of contemporary architecture that will be familiar to everyone.

Art: The Master artist Lawrence Jacob @ MOMA/April 3d -Sept07th/

lawrence jacobs @moma

In 1941, Jacob Lawrence, then just 23 years old, completed a series of 60 small tempera paintings with text captions about the Great Migration, the multi-decade mass movement of African Americans from the rural South to the urban North that started around 1915. Within months of its making, the series entered the collections of The Museum of Modern Art and the Phillips Memorial Gallery (today The Phillips Collection), with each institution acquiring half of the panels. Lawrence’s work is now an icon in both collections, a landmark in the history of modern art, and a key example of the way that history painting was radically reimagined in the modern era. One-Way Ticket: Jacob Lawrence’s Migration Series and Other Visions of the Great Movement North reunites all 60 panels for the first time at MoMA in 20 years.

Along with Lawrence’s series, the exhibition includes other accounts of the Migration from the era, including novels and poems by writers such as Langston Hughes, Claude McKay, and Richard Wright; music by Josh White, Duke Ellington, and Billie Holiday; photographs by Dorothea Lange, Ben Shahn, Gordon Parks, and Robert McNeill; sociological tracts by Carter Woodson, Charles Johnson, Emmett Scott, and Walter White; and paintings by Charles Alston, Romare Bearden, and Charles White. The range of works in the exhibition sheds light on the ways in which Lawrence drew upon and transformed contemporary models for representing the Afro- American experience.

The exhibition is accompanied by a book, Jacob Lawrence: The Migration Series, copublished with The Phillips Collection, Washington D.C. With the opening of the exhibition, MoMA has created a rich multimedia website that explores each of Lawrence’s Migration panels, accompanied by a range of visual, auditory, literary, and documentary materials. The exhibition is also accompanied by a film series in MoMA’s theaters in June. Download a brochure of related programming. (Adobe Acrobat Reader required)

MOMA

Art:Gordon Parks “Segregation”@ Adamson Gallery ,Washington DC/April 11th till June 27th,2015

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gordon parks 2                   segregation2Adamson Gallery 


GORDON PARKS: Segregation Story

04/11/2015

Adamson Gallery is proud to present an exhibit of photography by Gordon Parks, one of the twentieth century’s foremost documentarians of American life. This exhibition features a selection of images from Segregation Story, Parks’s powerful 1956 photographic series, which documented an extended African American family in segregated Alabama. Originally commissioned for a September 1956 issue of Life Magazine, this series is an intimate portrayal of one family’s perseverance through racial and economic subjugation in the Jim Crow South.

This exhibition will be on view from Aprill 11th through June 27th, 2015.

Art:Laylah Ali’s “The Acephalous Series”March25th-April25th @ Paul Kasmin Gallery

In anthropology, an acephalous society (from the Greek ἀκέφαλος “headless”) is a society which lacks political leaders or hierarchies. Such groups are also known as egalitarian or non-stratified societies. Typically these societies are small-scale, organized into bands or tribes that make decisions through consensus decision making rather than appointing permanent chiefs or kings. Most foraging or hunter-gatherer societies are acephalous.

In scientific literature covering native African societies and the effect of European colonialism on them the term is often used to describe groups of people living in a settlement with “no government in the sense of a group able to exercise effecitve control over both the people and their territory”.[1] In this respect the term is also often used as synonymous to “stateless Society”.[2] Such societies are described as consensus-democratic in opposition to the majority-democratic systems of the West.[3]

The Igbo Nation in West Africa is alleged to be an acephalous or egalitarian society.

Laylah Ali

Layla Ali@PaulKasmin

Art:the Trenton Doyle Hancock survey @Studio Museum in Harlem until June 28th

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Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing chronicles the foundation and evolution of Hancock’s prolific career. The exhibition is the first in-depth examination of the artist’s extensive body of drawings, collages and works on paper. For over two decades, Hancock has immersed himself in drawing, testing the elasticity of the medium with a keen sense of humor. Hancock was born in 1974 in Oklahoma City, Oklahoma. He lives and works in Houston, Texas. In 2007, Hancock was the recipient of The Studio Museum in Harlem’s Joyce Alexander Wein Artist Prize. Organized by the Contemporary Arts Museum Houston (CAMH), Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing is curated by Valerie Cassel Oliver, Senior Curator. The Studio Museum’s presentation is organized by Lauren Haynes, Associate Curator, Permanent Collection.

Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing is supported by a generous grant from the National Endowment for the Arts and other supporters of CAMH.

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Art:Orin Vadney

Miami:Feb26th -May 31st Victoria Gitmans “Design Eye ” exhibition of obsessive  little oil’s that look like commercial jewelry ads  or Ingres drawings…raises  a few questions about our modern romance with things  at The Perez

New York:Picasso’s curtain for Le  Ballet Russe ‘s ‘The Ballet found its new home at the New York Historical Society  from May 22nd on

Raising the Curtain: Picasso’s Painting for the Ballet Le Tricorne
May 22, 2015- Summer 2015

In Spring 2015, the New-York Historical Society will display its newly acquired and conserved Picasso in the exhibition Raising the Curtain: Picasso’s Painting for the Ballet Le Tricorne. It is the first work by Picasso, and one with great wall power and a New York history, to enter New-York Historical’s collection.

Pablo Picasso, Painting for the Ballet Le Tricorne, 1919. New-York Historical Society. Gift of New York Landmarks Conservancy, Courtesy of Vivendi Universal. © 2015 Estate of Pablo Picasso / Artists Rights Society (ARS) New York

Pablo Picasso painted the stage curtain for the two-act ballet The Three-Cornered Hat (“El sombrero de tres picos” or “Le tricorne”). The ballet and curtain were commissioned by the impresario Sergei Diaghilev for his avant-garde, Paris-based Ballets Russes, the most influential ballet company of the twentieth-century. The ballet was choreographed by Léonide Massine with music by the Spanish composer Manuel de Falla. It premiered on July 22, 1919, at the Alhambra Theatre in London with sets, costume designs, and the monumental stage curtain created by Picasso. Picasso biographer John Richardson once called “Le Tricorne” the artist’s “supreme theatrical achievement.” The production, which was conceived by Diaghilev and Massine during a trip to Spain, was enhanced by its many Spanish collaborators, including Picasso who also designed the costumes and set for the ballet.

Measuring roughly 20 feet square, the curtain depicts a scene with a bullring and celebratory spectators. Picasso painted it as an illusionistic window in a larger curtain that functioned as a backdrop setting the scene for the ballet. At some point before 1956 Diaghilev cut it from its larger context. For more than half a century the curtain, believed to be the largest Picasso painting in the world, has hung in the hallway of the Four Seasons Restaurant, in the landmarked Seagram Building, designed by Ludwig Mies van der Rohe, on Park Avenue and Fifty-second Street in New York City. Vivendi, the company that once owned the Seagram Building, gave the Picasso curtain to the New York Landmarks Conservancy in 2005 as a “Gift to the City.”

The show will position Picasso’s curtain in a dialogue with other N-YHS objects, including paintings from the European tradition that provide background to the artist‘s work as well as to the traditions against which the revolutionary artist rebelled. Other thematic threads pivot around dance subjects and explore roughly contemporary American paintings, sculpture, posters, and watercolors. Among the works included will be examples by William Adolphe Bouguereau, Will H. Bradley, Philippe de Champaigne, Jean-Léon Gérôme, Childe Hassam, Malvina Hoffman, Ricardo de Madrazo y Garreta, Elie Nadelman, Edward Penfield, Maurice Prendergast, John Sloan, and Adriaen van Utrecht.

Art:Brandon Ballangee @ Ronald Feldman/Soho -one of our best contemporary artist …a must see


Ronald Feldman Fine Arts

Brandon Ballengée, RIP Passenger Pigeon: After Louis Agassiz Fuertes, 1925/2014, artist cut and burnt chromolithograph, 18 x 14 inches. Photo: Casey Dorobek.

For Immediate Release: February 10, 2015

Brandon Ballengée

The Frameworks of Absence, 2006 – Ongoing

Ronald Feldman Fine Arts, Booth 844 at Pier 94

We stand guard over works of art, but species representing the work of eons are stolen from under our noses.

Aldo Leopold (1887-1948) from his textbook “Game Management,” 1933.

Brandon Ballengée, artist/biologist/environmental activist, will transform the Feldman Gallery booth into a space to mourn the massive extinction of species, often referred to as the Holocene or Sixth Great Extinction, which continues at an alarming rate. Pioneering in ecological art, Ballengée has been described by the critic and curator Kim Levin “as taking these issues to a new level of intensity.” He conceptualizes material of great consequence, and the installation is both a cri du coeur and a call to action that balances the evocative with the proactive.

Responding to this cataclysm, Ballengée physically cut images of missing animals from historic prints and publications printed at the time in history when the depicted species became extinct. The booth takes on the appearance of a miniature museum, displaying the altered prints by John James Audubon, Mark Catesby, John Gould, J.G. Keulemans, Ernst Haeckel, Louis Agassiz Fuertes, and others hung in chronological order from 1660 to 2014. The prints depict familiar images of over 100 now extinct species, including the Rocky Mountain sheep, Ivory-billed woodpecker, Great auk, Maryland darter, Carolina parakeet, and the Sloanes Urania butterfly. Giving form to absence, Ballengée’s cut-outs expose the bare wall in the shape of these extinct species.

Ashes in vials of the cut-out images burnt by the artist to simulate cremated remains can be ceremoniously scattered or saved as part of the mourning process when acquiring an altered print. This transformative component of the installation, Actions of Mourning, deepens an empathetic response to the annihilation of forms of life that are less physically present in our post-technological society.

Two other series are represented on outside walls of the booth. DFA 186: Hades, from his ongoing series Malamp:The Occurrence of Deformities in Amphibians (1996-ongoing), presents a large unique scanner photograph of a terminally deformed frog as a reliquary to a short-lived non-human life. In response to the Deepwater Horizon oil spill, the video Committed, exhibited at Ronald Feldman Fine Arts in 2012, overlays BP’s TV “infomercials” with scientific rebuttals. The video is available to Armory visitors at no charge.

A portion of proceeds from Ballengée’s “Frameworks of Absence” will support the Natural Resources Defense Council’s (NRDC) efforts to defend and protect endangered wildlife and wild places.

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An exhibition by Brandon Ballengée is on view at the National Academy of Sciences, Washington DC through April 29, 2015. A survey of his work was mounted by the Chateau de Chamarande, Essonne (France) in 2013 and traveled to Het Domein in Sittard (Netherlands), which is co publishing a monograph of his work with Lafayette College (USA) and The Shrewsbury Museum (England) in 2015. His installation Love Motel for Insects was exhibited in Central Park in 2013. His work has been included in Documenta, Venice Biennale, Moscow Biennale, Prospect New Orleans 2, and the Electronic Arts Biennale in Australia.

A panel discussion on Environmentalist Art with Brandon Ballengée, artist and biologist; Roel Arkesteijn, curator of contemporary art, Museum Het Domein, Sittard, Netherlands; Elizabeth Corr, manager, Art Partnerships, Natural Resources Defense Council; moderated by Suzaan Boettger, art historian, Bergen Community College. Friday, March 6, Mezzanine Lounge Pier 92, 12:30 – 1:30 PM.

Style-list:The Future of Style:Designer Salama McGrier’s wicked eye for a look/photos by :Jean-Philippe Boucicaut

While fashion week goes on.. I wish to call attention to the art of style .Something that does not expire every season and often times is missing from the “tents” or runway if you prefer,  but is an eternal part of every living beings DNA…I feel however that  this is an endangered part of our character due to the prevalence of  mechanical(scientific and mathematical thought “over” intuitive as opposed to alongside it ..where both naturally belong) in our current cultural milieu.

what you see here is the imaginative work of Salama McGrier who is a fashion stylist and designer …you cannot get these outfits in a store per se, but you may be able to shop some of the designers awesome accessories at her Leathershmeather @ etsy page  check out Salama’s distinct  combination of skill and intuition.

 Creations more akin to the way we really dress…something less uniform and more emotional collage …A Spirit Collage .I see this as more than the future of Fashion .Fashion as we know it is destroying itself with unsustainable ideals and poverty conscious dreams of “Luxury”.

Only The imagination will save  the 21st century as we become more Cartesian in manners our  hunger  for the “Chaos” of the imagination in attempt at Balance seems only logical ..we see examples of this in the collections of Sean-Oliver ‘s Hood By Air as well as at Agi et Sam’s in the UK  and at Maki Oh .. I  also see it in this shoot  by Jean -Philippe Boucicaut  of looks constructed by Salama Mcgrier’s unique hand and eye(all of these outfits were literally assembled on the spot for the shoot ) 

Imagination is the future of Style ….

all photos courtesy of Jean-Philippe Boucicaut /read more about Salama at Project Inkblot

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Style-List:the Kanye West “Direction”

Well its not particularly new but it is safe, its gaurenteed sales because frankly the masses are not paying attention to the actual quality and craftsmanship of clothing …they are quite frankly buying out of habit

We the post boom era boomers and millenials do not buy in a discriminating manner we buy as an impulse.. a muscle we have overdeveloped…the name excites us and we click like…swipe  and it belongs to us …life is one continuious intravenus stream of clothing that ranges from  Dystopian Gym /Yoga doldrums  for our “hectic”days to Novella nights  tube dresses  and overpriced fancy t’s  for out pouring champagne down our throats ….so if Kanye West s new collection looks as exciting as  the gap with a bit of Diesel’s anti-luxury “luxury” thrown in why not!?? ….its genius of West to give the people what they are used to with his name attached to it …its “genius ” of his backers to want Mr West’s pop culture’s Cassius Clay as the frontman for selling people more of what they really do not need .

 

Art: Photographers for the 21st century

Baron Claibourne

                                                                                   

 

 

 

 

 

 

 

anthony barboza

                

 

 

koto bolofo

 

 

ruddy roye

    

 

Dale Grant

    

 

 

 

 

 

 

Art:Titus Kaphar

Drawing the Blinds

January 15 – February 21, 2015

JACK SHAINMAN GALLERY

513 West 20th Street

New York, NY

From jackshainman.com:

Jack Shainman Gallery is pleased to present Titus Kaphar’s first solo exhibition at the gallery. The exhibition will be presented in two parts. A survey of new paintings, Drawing the Blinds, will be installed at the 513 West 20th Street location while an extension of The Jerome Project entitled Asphalt and Chalk will include drawings and paintings at the gallery’s 524 West 24th Street space.

Through the manipulation of seemingly classical and canonical imagery, Kaphar introduces us to an alternate history that runs concurrent to the dominant narrative. Truths emerge to reveal the fiction and revisionism inherent in history painting and the visual representation of a moment or memory. Kaphar cuts, slashes, erases, layers and peels back the surface of his paintings. Each method is specific to the subject and meant to ignite and recharge the image, often that of the underrepresented body.

In 1968/2014 and Another Fight For Remembrance: Study, Kaphar uses white washing as an erasure, obscuring or removing the subject entirely. As he describes, “Characters are sometimes entirely removed by the white paint, but often I feel the urge to re-expose a portion of that individual. This can occur through scraping the white paint back with pallet knives, towels, and turpentine. This back and forth allows me to view the whitewash figures in a mysterious space of presence and absence.”

Kaphar received an MFA from the Yale School of Art and is the distinguished recipient of the Gwendolyn Knight and Jacob Lawrence Fellowship. He has been awarded a 2015 Creative Capital Grant for the Visual Arts. His work has been included in solo and group exhibitions at Savannah College of Art and Design, Savannah, GA; the Studio Museum in Harlem, New York, NY and the Seattle Art Museum, Seattle, WA. His work is included in the collections of the New Britain Museum of American Art, New Britain, CT; the Seattle Art Museum, Seattle, WA; and the Studio Museum in Harlem, New York, NY.

Kaphar’s ambitious installation, The Vesper Project, is on tour through 2016 to venues including the Lois and Richard Rosenthal Center for Contemporary Arts, Cincinnati, OH; the Katzen Arts Center at American University, Washington, DC; the Pennsylvania Academy of Fine Arts, Philadelphia, PA and the New Britain Museum of American Art, New Britain, CT, where it is currently on view.

Art:”I lost an arm on my last trip home”: Derrick Adams, Emma Amos, Bethany Collins, Sara Rahbar/jan15-feb21st @Ryan Lee Gallery

I lost an arm on my last trip home: Derrick Adams, Emma Amos, Bethany Collins, Sara Rahbar

January 15 – February 21, 2015

Opening reception: Thursday, January 15, 2015, 6 – 8PM

RYAN LEE GALLERY LLC

515 West 26th Street

New York, NY

From ryanleegallery.com:

Ryan Lee is pleased to announce I lost an arm on my last trip home, a group exhibition of work by Derrick Adams, Emma Amos, Bethany Collins, and Sara Rahbar that examines the ambagious nature of language, memory, bloodline, and tradition. Each artist, through painting, sculpture, and work on paper, applies individual systems to confront past, present, and future histories. The exhibition borrows its title from the opening line of Kindred, a novel by celebrated science-fiction author Octavia Butler. Spoken by the protagonist, it suggests the twisting qualities of history, time, and space that can be both repairing and damaging.

Informing abstract ideas of the human condition as it reflects notions surrounding history and landscape, Derrick Adams (b. 1970, Baltimore, US) and Sara Rahbar (b. 1976, Tehran, IR) have disparate approaches to similar themes of otherness, post-colonial aesthetics, and labor. Adams uses his signature architectural and “planning” language to confront social convention in large, narrative mixed-media collages on view from the Deconstruction Worker series (2011-present). His work moves unexpectedly, although fluidly, weaving together elements of politics, social codes, futurism, and architecture. Rahbar works primarily with bronze, found objects, textiles and war materials to examine modes of labor, tension, and aggression that exist across time, structured space, and country. Her Flag series (2003-2013), tapestry-like in how they hang vertically off the wall, combine military fabrics and emblems, Middle Eastern textiles, embroidery, and found US flags. They debut alongside work from her most recent series, 206 Bones (2013-present), which are assembled from found worker tools and weaponry and have a heftier physicality. Both artists travel a distinct landscape, with oscillating dualities of native and unfamiliar, tension and calm, threat and provocation, to explicate contemporary behavior.

Conceptually, Emma Amos (b. 1938, Atlanta,US) and Bethany Collins (b. 1984, Montgomery, US) activate devices to resist and alter established visual codes and systems of meaning. Collins engages outdated text or encountered language, particularly racialized, to confront narratives and history, usually by employing a set of rules to weaken, erase, or quiet it. Requiring a specific physicality – working until her fingers throb, using spit to facilitate the erasures, or leaving charcoaled fingerprints on delicate pages of The Southern Review, 1988 (2014) – the work explores the unnerving possibility of multiple meanings and dual perceptions. While Collins is interested in unpacking language by examining its evolutions and limitations, Amos looks to engage and dislodge notions of social and political constructs in her provocative and deeply referential compositions. The oil paintings from the 1960s, including Godzilla (1966) on view, present unlikely subjects in a traditional manner. The series of monoprints from the early 1990s take on the American flag, incorporating found, bequeathed, and staged photographs to investigate narrative, history, and myths surrounding her memories of the South. Amos confronts ideas of otherness and privilege within an art historical canon as commentary on a larger investigation into America’s history. Both artists create works wrought with cultural, historical, individual, and collective memory.

Together the artists in I lost an arm on my last trip home have exhibited widely in important solo and group shows, including at Art in General, MOMA, PS1, Museum of Modern Art, Performa Biennial, The Studio Museum in Harlem, New York; Bass Museum of Art, Miami; Centre Pompidou, Museé National d’Art Moderne, Paris; Changwon Sculpture Biennale, Gyeongnam; Contemporary Art Museum, St. Louis; Fowler Museum at UCLA, Los Angeles; Goethe-Institute, New Delhi; High Museum of Art, Atlanta; National Centre of Contemporary Art, Moscow; Queensland Art Gallery, Brisbane; and Sharjah Biennial, UAE.

Art:Derek Adams @ Hales Gallery(UK) till Jan24th

 

Derrick Adams (b. Baltimore, MD, USA) is a New-York based multidisciplinary artist working in performance, sculpture, collage and painting. Adams received his MFA from Columbia University and BFA from Pratt Institute and is a Skowhegan and Marie Walsh Sharpe alumnus. He is a recipient of a 2009 Louis Comfort Tiffany Award, and is an honoured finalist for the 2011 William H. Johnson Prize.

Exhibition and performance highlights include: MoMA PS1 Greater New York 2005, PERFORMA 05, Brooklyn Museum Open House, The Kitchen NYC 2010, The Bearden Project at the Studio Museum in Harlem 2011/12, a four-night solo performance in BAM’s new Fisher Theatre in September 2012, PERFORMA 2013.

The main focus of Adam’s practice lies on fragmentation and manipulation of structure and surface – exploring shape-shifting forces of popular culture and its counter balances in our lives. His creative process is invested in ideas charging formal constructs working in 2D, 3D and performative realms.

Adams is continuously inspired by iconography of American culture and television programming as well as architecture and its relationship to Man in a contemporary context. His collages and sculpture create geometric constructions of angular human figures that seemingly live both in a state of deconstruction at the same time as if in the process of being built. This geometry is often drawn from floor plans, visual renderings, architectural drawings and serves the purpose of investigating into the physical construction of the figure.

Adams lives and works in Brooklyn, NY.

 

Style-list:of all things 70’s….. redux Le Tux…Le Smoking /Bianca Jagger /Cerrone /

Bianca

  oh the choices we make in life  and what is left to chance no???

a modern day princess story ..Bianca seems a perfect reference point for where women stand today some 30 yrs later …still struggling to get equal pay still balancing being attractive with being respected…finding the balance  by appropriating  and redefining the power symbols was very 70’s borrowed from the 20’s 30’s and 40’s


Think of him as the disclosure of the 70’s…I know I know that cover …fucking love it ! electro has its roots in 70’s (post 60’s moog  and synthesizer music married to  black and gay disco sensibilities )

cerrone


yoga wear -lulloman /gap/ The 70’s brought an obsessive devotion to the work-out and its back full on …even the English are getting into it .

 even gen nexter minaj has her own fitness line

Art:in Miami /The Wolfsonian’s fascinating Myth and Machine :Art and Aviation in the First World War /Nov11th-April5th

War in my opinion is the “immaculate mis-conception” a lie the very “powerful” keep telling the very really powerful. This becomes more apparent  at  The Wolfsonian ‘s  revealing look at the art of and “in” war …WWI to be exact .Much like our recent orgies in the Middle East, Inventors of armaments such as aircrafts,tanks ,battleships and machine guns made a fortune off of murdering young poor men either so powerless or  just  dumb enough to get caught up in the trap of the rich’s plot to annihilate them but first have  them gather more land .At the Wolfsonian ..a privately owned institution that is remarkably helpful in demystifying what is Myth and what is real for the masses (see not all rich people are bad people)you may get an education on how carefully our lives are mapped out .There are two things as people we find hard to resist …being told what to do and being seduced and these are the two processes at work always in War time propaganda not very different from in Fashion or in Advertisement  huh??. painting by Anna Airy,shop for machining 15-inch shells,Singer manufacturing company,Clydebank,Glasgow

Style-list:Flying Kithe :The ascent of new American designer Kithe Brewster

How to do the same with so much elan that it seems new ?well take lessons from Kithe Brewster  whoes mix of tempered glitz and salable seperates hit the mark for spring summer 2015 .Brewster started as a stylist and still does celebrity styling but lateley the buzz is about the three excellent collections the New York based designer has presented over the last three seasons .Brewsters eye for what is not only attractive but also functional and streamlined has set off humms in the palace .

Style-List:Paree S/S 2015:Valentino’s Heroine

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there is a Valentino “girl”.She is not quite a Woman ..at least not the modern day woman ..you know the average woman who is busy always and juggling demands always and going from her first to “second shift “.No the Valentino “girl” is perpetually thin according to the cut of the houses designs….she is a bit cool or some would say even cold and she apparantly goes from sun to red carpet  with the air of someone who is convinced she is born of an aristocratic bloodline directly from Salacia , Athena or Persephone’s tribe…everything is about economy and control right down to the joy she is a walking portrait of bliss.