In the 1970s, an unusual and now-nonexistent film genre known as 'porno chic' flourished in a handful of New York cinemas. These films were essentially surprisingly well-produced updates of film-noir classics (think Sunset Boulevard), their sexual tension manifested so as to become porn. Actors of the X-rated sort donned raincoats, lurked in the shadows, delivered minimal lines, and otherwise did the things porn stars do. Porn noir or roughies, these films were also called.
Anthology Film Archives has done the work no one else will do and located four of these gems — which, we might add, have excellent posters. They're slated to screen at the East Village institution, as part of its In the Flesh series, from clean 35mm prints, presented by special guests who'll provide charmingly lascivious details from behind-the-scenes.
Expose Me, Lovely
March 27, 8:00 PM
The Double Exposure of Holly
March 28, 8:00 PM
March 29, 8:00 PM
March 30, 8:00 PM
Visit Anthology Film Archives
Feathers have the unique ability to signify angelic innocence or devilish glamour, and any number of traits therein. A new exhibition at Antwerp's MoMu fashion museum, Birds of Paradise, will shed light on the power of plumage in fashion, couture, and film from the 20th century to present. In collaboration with Maison Lemarié of Paris, the exhibition explores the craft of the plumassier and the art of feather embroidery.
For the most part, feathers have been used to signal upper-class sophistication and luxury. Belle époque garments emphasized refinement through ostrich, pheasant and marabou feathers. Soon, flappers of the Roaring Twenties embraced feathers with mainstream gusto, fashioning them into boas and hats. Couturiers from Cristóbal Balenciaga to Christian Dior began working extensively with feathers, which also worked their way into films of the early and mid-1900s. It was on the big screen that Marlene Dietrich's white swan-down coat gained notoriety. Nowadays feathers have taken on a more diverse role, denoting dark glamour (Alexander McQueen) and poetic esoterica (Ann Demeulemeester).
Birds of Paradise: Plumes & Feathers in Fashion, March 20 - August 24, 2014, MoMu Fashion Museum Antwerp, Nationalestraat 28, 2000 Antwerp, Belgium
FIAF, the French cultural center of New York (and the best place in the city to learn French), welcomes multimedia artist Jessica Sofia Mitrani with a screening of her fashion short Headpieces for Peace. Using graphic prints originally designed by threeASFOUR for their Insalaam Inshalom exhibition in Tel Aviv (2011), the video blurs the line between various religious headgear to clever and humorous effect.
The eleven pieces featured in the film, which won the grand prize in A Shaded View on Fashion Film festival in 2012, will also be on display. The installation is part of a month-long fashion focus at FIAF, which includes talks with Thom Browne and Joseph Altuzarra.
Jessica Sofia Mitrani: Headpieces for Peace
Wednesday, February 26, 2014, 6-8pm
FIAF Gallery, 22 East 60th Street, NYC
Foam is loads of fun and full of cheer, two qualities that make it an ideal prop for Brazilian-American photographer Marcelo Krasilcic, whose upbeat fashion photos have appeared in Elle, L'Officiel and Purple. Opening February 6, he'll exhibit new mixed-media works incorporating polyurethane foam, the latest in a performative series started in Fire Island Pines last August, in which he invited audience members to don foam scraps of various sizes and colors. They were then asked to take selfies and upload them to social media using the hashtag #phofoam, a fitting word mash-up. Foam pieces will also be on hand during the opening (February 6, 6-9 pm) to continue the selfie indulgence.
#PHOFOAM, February 6–28, 2014, OSMOS Address, 50 E. 1st Street, NYC
Candy-cane smokestacks, glittery oil wells, Kool-Aid sludge. These are the sugar-coated, artificial impressions in David LaChapelle's latest solo show, LAND SCAPE, at Paul Kasmin gallery. The sites in the photographs — oil refineries and gas stations — are scale models, made out of cardboard, egg cartons, hair curlers, and other recycled materials. Shown as shining, color-saturated, cartoon-like places, they are thus reduced, sweetened, and otherwise stripped of their negative, inconvenient connotations — in order to shed light on those very connotations. The backgrounds — the coastlines of California and the jungles of Maui — are photographed realistically.
This is familiar territory for LaChapelle, who's made a career out of extreme airbrushing, the objectification of self-involvement and addiction, and repeatedly crossing the line between beautiful and grotesque. Drag queens, transexuals, eccentrics, fashion designers, and now petroleum dependence, have been burnished to the point of otherworldliness.
David LaChapelle, LAND SCAPE, January 17 - March 1, 2014, Paul Kasmin, 293 Tenth Ave, NYC
We don't know how it is that the Tilda Swinton-led vampire film Only Lovers Left Alive, written and directed by the Jim Jarmusch, has opened in most of the world except for the USA, after debuting at Cannes earlier this year. Not only that, but fans in Cologne and Berlin are being treated to a live concert — December 10 and 12, respectively — by the various artists from the film's soundtrack: White Hills, Jozef Van Wissem, Yasmine Hamdan, Zola Jesus and Jim Jarmusch's own band, SQÜRL. That's SQÜRL with an umlaut, which may explain why the Germans are so lucky.
Want to know what SQÜRL sounds like?...
We're crazy for parties in abandoned buildings, so consider us RSVP'd for Byronesque's exhibition of vintage fashion. Adding to the spooky ambience, the event will be hosted by Michèle Lamy (aka Ms. Rick Owens), Glenn O'Brien, and Milk's Rassi Mazdack.
Byronesque.com — launched in December 2012 with a group of investors led by Andrew Rosen — bills itself the first combined editorial and e-commerce website dedicated to vintage fashion at least 20 years old. To mark its first birthday, the site is going offline with the multimedia exhibition of rare vintage pieces on 40 equally vintage mannequins, transforming the forgotten gothic corridors of the grand James A. Farley Post Office in New York into a highly atmospheric pop-up retrospective.
On hand will be vintage collections from Byronesque’s partners in London, Paris, Los Angeles, and New York, including Comme des Garçons, Jean Paul Gaultier, Katharine Hamnett, Maison Martin Margiela, Issey Miyake, Stephen Sprouse, and Vivienne Westwood. Additionally, pieces from the personal collection of fashion editor and tastemaker Irene Silvagni will also be available; specifically, those acquired during her post-French Vogue years working alongside Yohji Yamamoto. Vintage and couture collector Didier Ludot, too, will sell his private collection of Claude Montana for the first time. Meanwhile, a one-of-a-kind coat from John Galliano’s Les Incroyables graduation collection of 1984 will also be on display for the admiring; it won't be for sale.
“Mods, punks, skinheads, and new romantics each had a point of view and you were either with them or against them," says Byronesque's founder Gill Linton." They created a visual tension that alienated and inspired in equal measure, which rarely happens today. The vintage items in this exhibit have their own special history, and the scars that tell their stories have inspired and outlived landfills full of imitations. This is why we believe that vintage is the future of fashion.”
The exhibition launches with a private party on December 10, then opens to the public December 12-15 (open daily from 11 am-8 pm), followed by another party on December 13 with a special performance by Michèle Lamy.
The wonderful thing about Richard Avedon is that, even as he found spectacular success shooting exactingly directed images of models destined for fashion magazines, he loved shooting candids of women with big personalities. And some of those were models, too. More than 100 of these off-kilter photographs are on view in Women, a new exhibition at Gagosian Beverly Hills and the first solo show of his work in the L.A. area since 1976.
The exhibition opens with an extreme close-up of Cheryl Crane, daughter of actress Lana Turner, photographed shortly after her exoneration for the killing of her mother’s abusive boyfriend at the age of 14. That's followed by a 1959 portrait of Brigitte Bardot, shown in an introspective light far from the sexy insouciance she's associated with. Other subjects include Elizabeth Taylor, Ella Fitzgerald, Anjelica Huston, Lauren Hutton, Verushka, Comtesse Jacqueline de Ribes, and socialite and columnist Elsa Maxwell (1957), lying in bed with her pet skunk.
Avedon: Women, November 1 - December 21, 2013, Gagosian Beverly Hills, 456 North Camden Drive, Los Angeles. Images © The Richard Avedon Foundation
The White Cubicle Toilet Gallery is exactly what it sounds like, a gallery in a bathroom. Specifically, the bathroom in the George and Dragon Public House in London. As such, there's room for very small-scale works and not much else, but that's all that's needed for the kind of paper installation opening October 18, 8 pm - 12 am.
The first UK exhibit of the work of Paola Revenioti, a Greek transgender artist and activist, Kraximo comprises a collage installation of pages and photos from her magazine of the same name, a "trans-anarchist fanzine" published between 1986 and 1992. A devoted indie publisher if ever there were, Revenioti funded Klaximo through prostitution. The magazine featured articles on gay and trans rights, interviews with poets, and racy photographs of her encounters with men.
Curated by Konstantinos Menelaou of the Queer Archive, along with White Cubicle’s Paul Sammut, the Kraximo show is a continuation of an exhibit of Revenioti's photos and videos at Athens' Breeder Gallery in January of this year, the first time her work has been exhibited by an art institution.
Following the magazine's closure in 1992, Paola Revenioti organized and financed Greece's first gay pride that year in Athens. Still active, Revenioti continues to produce on transgender documentary projects and publish her writings online.
Kraximo, George and Dragon Public House, 2 Hackney Road, London E2, with a DJ set by The Sugarlow Boys and a special performance by A Man to Pet.