more of the master https://youtu.be/wCA5NmbwpD8
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
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.
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 ….
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 .
Drawing the Blinds
January 15 – February 21, 2015
513 West 20th Street
New York, NY
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.
see more @Ayana v Jackson.com
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
515 West 26th Street
New York, NY
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.
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.
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 )
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
exact eye for nailing the irony of art ..the irony of being ingested by audience and creator
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
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 .
He is the freshest view we have of male beauty in New York …his men are never overtly sexual none of the 20th century posturing .a Kwame Brimpong man is undeniably a pretty man anyway he is usually a model from any given agency ,so that’s a no-brainer but its how balanced they seem between sensual symbols and idolized male figures .Ghanian born photographer Kwame Brimpongs work is heavy in demand by agencies and I suspect very soon major campaign .-OI
while the American Scene obsess on feeding us studies in Power in all its incarnations the weathered and war smart Europeans are feeding there masses reality …philosophy and post-modernist theory as a love story.Still going strong at over eighty Godard.The artists collage feed of found footage wisdom and politics is refreshing .I would say a “worthwhile -see” not a must-see.
In early 2009, I found myself without a place to live, and was traveling between New York and Boston, staying with friends and looking for work. I started a journal where, upon looking back, I noticed that I frequently referred to myself as a “floating weed”, and I’ve used my own reaction to being a floating weed as the basis for my latest art work.
The images are set in a swirling milky-grey environment, reminiscent of a thick fog at dusk, or a frothy ocean surface. All include a fragment of a human figure, sometimes accompanied by an object or animal. In order to create this environment, I brush a few layers of diluted black ink over printmaking paper, then let the paper buckle and kink on it’s own. When I’m satisfied with the levels of black, I brush a few layers of diluted gesso over it and again let the paper do what it will. The time that passes between the layers depends on how long the ink and gesso takes to dry. This process of tinting the paper is important in making the image, as it allows for the elements of time and chance to be part of the artwork. These elements are large factors in the shaping of my experience, so I find it fitting that they are the factors shaping the structure of my drawings. The human figure, as well as animals, are drawn out of the existing surface as a means of expression. The figures are often fragmented as an attempt to distill the image to what is necessary to create the mood I envision. The process helps me to visualize new ideas that convey ambiguity and uncertainty. This is the first reaction I have in describing myself as a floating weed, and this is the initial reaction I’d like my viewers to experience.
Nicki swings in like Drake style slow and calculating then she really knocks it out of the park by singing her ass off …i think its her and if it is Damn !Kiesha Cole and Lady Gaga look out!
The PinPrintMovie reads mostly like a Range Rover commercial meets Columbian Novella but a really tight one because the music is actually flawless in its Grandiosity…..
portrait by : gabi trinkaus
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.