The Brooklyn-based and still-nascent label Hood by Air has already scored a museum exhibition, NYC Makers, part of the MAD Biennial. In the compact yet ambitious show at the Museum of Arts and Design, designer Shayne Oliver's laced-up two-piece masterwork for HBA — a parachute Jacket and flight shorts for spring 2014 — counts among the items loaned by 100 artists who call the city home, including Laurie Anderson, Aisen Caro Chacin, Chris Pellettieri, and Rafael de Cárdenas. It's the first exhibition organized under the aegis of MAD's new director, Glenn Adamson — an auspicious new beginning.
NYC Makers, July 1 - October 12, 2014, Museum of Arts and Design, 2 Columbus Circle, NYC
Ryan McNamara, the Brooklyn-based performance artist who once staged a commissioned piece in Louis Vuitton's flagship, a "showboy production line" in which, for two hours, 30 male dancers conga-lined through the store to a loop of old chorus-line music created by McNamara. As they danced, they passed various Louis Vuitton bags, spontaneously licking them. “Performance is inherently subversive," McNamara said, "in that the presenting institution cannot guarantee what is going to happen."
Now he's presenting Misty Malarky Ying Yang, a new performance at High Line Art that commemorates the 35th anniversary of Jimmy Carter’s ill-received Malaise Speech, given July 15, 1979. McNamara and a group of performers will use the televised address — in which the president blamed the oil crisis on over-consumption by the American public — as the point of departure for a choreographed, immersive spectacle that will snake along the length of the High Line from its southernmost point to its northernmost. The title of the show, Misty Malarky Ying Yang, refers to the name of the Siamese cat belonging by the president's daughter, Amy Carter, while in the White House.
July 15–17, 2014, 7:30 pm, south end of the High Line @ Gansevoort Street
Evoking the passage of time and its corrosive ravages, New York artist Daniel Arsham brings his signature erosion technique to more cherished items, this time musical instruments. All new works, The Future Is Always Now at Galerie Perrotin features plaster casts of guitars, turntables, microphones, boomboxes, speakers, keyboards and the like, whose volcanic and obsidian composition has been degraded and fossilized to the point of no return.
Fashion followers may recall that, in 2005, Hedi Slimane commissioned Arsham to create the dressing rooms for his new Dior Homme store in Los Angeles. The designer's only requirements were "a hook, a seat and a mirror." Thus, Arsham's implemented a hollowed-out, excavated look in which walls appeared to be in mid-crumble.
Daniel Arsham, The Future Is Always Now, June 12 - July 26, 2014, Galerie Perrotin, 76 rue de Turenne, Paris
Merry champions in the fight against AIDS and their admirers turned out to the Plaza Hotel, New York, for amfAR’s annual Inspiration Gala and a fashion show featuring looks by Thom Browne, Raf Simons, Rick Owens, and Calvin Klein.
Honorees included HRH Crown Princess Mette-Marit of Norway, CK's Francisco Costa and Italo Zucchelli, and HBO President Michael Lombardo. The gaiety continued well into the night with a live performance by New Order and a steady stream of rainbow-colored confetti...
Photographer, filmmaker and now fine artist, Larry Clark has made a career out of capturing hard-core teenage mischief and devilry in discomfiting images of needle-poking, gun-toting, everything-humping kids. In the process, he's paved the way for countless other photographers. Indeed, the road to Nan Goldin and Terry Richardson begins in Tulsa — the name of Clark's groundbreaking 1971 book of gritty black-and-white photos shot sporadically between 1963 and 1971. His reputation was well-established by the time he directed the Harmony Korine-written and highly controversial feature film Kids in 1995, launching the careers of Chloe Sevigny and Leo Fitzpatrick. His latest film, The Smell of Us, about so-called delinquent skateboarders in Paris, is set to release later this year.
"I'm just showing a reality," he told Hint. "Other people have taken my images and exploited everybody like crazy. Look at the fashion world. Open any magazine and it's all half-naked and naked kids selling clothes. The original work that I did, I wasn't selling anything. I was just making art and showing you the reality of what's going on."
Clark was doing just that as early as 1961, as Luhring Augustine gallery shows in an exhibition of works spanning the early 1960s to the present. The earliest piece on display is Clark's portrait of his friend Johnny Bridges, made with a Rolleiflex camera borrowed from his mother, a door-to-door baby photographer. In recent years, however, Clark has also created collages and has recently branched out into sculpture and painting. A fervent collector, Clark continually mines from his vast accumulation of photos and printed matter to form and inform his work. The show, titled "they thought i were but i aren’t anymore…," will also showcase his painting for the first time.
Clark will also have a moment across the pond. The FOAM in Amsterdam will exhibit the complete Tulsa series, as well as its follow-up book, Teenage Lust. The museum will also screen Tulsa 1968, the 16mm black-and-white film Clark shot alongside his Tulsa portraits and which has only been shown on a handful of occasions since 2010.
"they thought i were but i aren’t anymore…," Jun 7 - Aug 1, 2014, Luhring Augustine, 531 W 24th St, NYC
Tulsa and Teenage Lust, Jun 13 - Sep 12, 2014, FOAM, Keizersgracht 609, Amsterdam
Life Ball — that AIDS-fighting, life-affirming, awe-inspiring party of parties in Vienna, whose optimism and feel-good attitude knows no bounds — has bowed for 2014. Once again, various fashion personalities took part, this year hand-picked by Franca Sozzani, Italian Vogue editor and United Nations Goodwill Ambassador.
“It's such an honor to be once again partner of this praiseworthy initiative, representing Italy, where, next June, we will hold the 21st edition of Convivio, thus supporting HIV/AIDS research," said Sozzani. "It is so important that we all share our efforts for a disease that unfortunately still affects millions of people around the world."
Among other duties, Sozzani gathered tuxedo looks from seven men's houses — Givenchy by Riccardo Tisci, Viktor & Rolf, Lanvin, Jean Paul Gaultier, Vivienne Westwood, Etro, Dsquared2 — for Life Ball's first men's fashion show, presented by L'Uomo Vogue and featuring the chiseled, top-model physiques of Rob Evans, Shaun Ross and Austrian-born Werner Schreyer, among other Adonises.
For the Red Ribbon Celebration Concert portion, Vivienne Westwood was tapped to create the stage design, based on the motto of Life Ball 2014: the Garden of Earthly Delights, as painted by Hieronymus Bosch in his 15th-century triptych of the same name. Naturally, Westwood also used the opportunity to raise awareness of her environmental causes. “For the ‘Lost Paradise’ concert," she said, "we designed a backdrop to suggest the cosmos, home of our planet and the Garden of Earthly Delights...to help understand the very urgent need to fight climate change.”
Life Ball also brought out the requisite gaggle of dubious and somewhat confused celebrities-for-hire, who this year included Lindsay Lohan and Courtney Love. Curiously, Love walked in Westwood's fashion show alongside Andreas Kronthaler, the designer's creative director and Austrian husband, upon whom Sacha Baron Cohen is said to have been based his Bruno character.
Despite a heart-stopping, still-sexy performance by Ricky Martin, the two showstoppers of Life Ball were the dual bookends: an introduction by Bill Clinton, an avowed champion of anti-HIV causes, and the grand finale showcasing Conchita Wurst, winner of the European Song Contest. Conchita — whose bearded, gender-fuck appearance on television twisted untold Putin loyalists' panties into a knot, reprised Rise Like a Phoenix, the song that secured Ukraine's votes and, with them, the contest.
Like many great fashion photographers, Irving Penn didn't restrict his oeuvre to swanlike models in fancy dresses. Far from it. During his seven-decade tenure at Vogue, which included 159 covers, he shot everything from still-lifes and flowers to celebrities and tribespeople.
On the five-year anniversary of his death (at the ripe old age of 92), a new retrospective, Resonance, explores wide-ranging repertoire of the never-stopping American photographer. At François Pinault's sprawling Palazzo Grassi on the Grand Canal in Venice, curators Pierre Apraxine and Matthieu Humery have assembled 130 of the master's photographs — glamour shots included — taken between the end of the 1940s and the mid-1980s, many of which have never been shown.
The aim of the exhibit is to present the photographic passions of the venerated lensman, a Jersey boy through and through who sought to capture the ephemerality of life and the fleeting connections between all living things. Well-known and barely-known images are paired side-by-side as visitors are given a rare glimpse into Penn's process and the egalitarian nature with which he viewed his varied subjects.
Irving Penn, Resonance, through December 31, 2014, Palazzo Grassi, Dorsoduro 2, Venice