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.
While Roger Vivier is credited with inventing the modern stiletto heel, an exclamation point if ever there were, he also did wonders with the demure "comma" heel. These and more shoe punctuation are explored in a retrospective at the Palais de Tokyo in Paris.
In Virgule, Etc., nearly 140 pairs of shoes trace the career of Roger Vivier, the French cobbler who designed the "pilgrim" pumps worn by Catherine Deneuve in the 1967 classic Belle de Jour, as well as the regal shoes for Queen Elizabeth's coronation in 1953, and who served as Christian Dior's shoe designer from 1953 to 1963.
Virgule, Etc., October 2 - November 18, 2013, Palais de Tokyo, 13 Avenue du Président Wilson, 75116, Paris
Here's something that might blow your mind, unless it totally doesn't. Kim Gordon, she of legendary band Sonic Youth, went to L.A's Otis School of Art and Design in the 70s and never stopped making art or showing galleries across the U.S., Japan, and Europe. All that while she was Sonic Youth's guitarist and vocalist for decades, alongside Thurston Moore, and collaborated with the like of Yoko Ono, Raymond Pettibon, and Courtney Love. Oh, and she's set to appear on an upcoming episode of Girls.
Her first solo exhibition — presented under nom de arte, Design Office — took place in 1981 at White Columns gallery, which is exactly where a new exhibition is being staged. A 33-year retrospective, and the first survey of her art, "Design Office with Kim Gordon – Since 1980" includes photographs, writings, videos, paintings, sculptures she produced between 1980 and 2013.
Key video works include Making The Nature Scene (1983), shot in New York’s Danceteria club; the X-Girl Movie (1995), a promotional film for Gordon’s and Daisy Von Furth’s clothing line, shot by Phil Morrison in the style of French Nouvelle Vague; a series of paintings depicting the names of contemporary galleries and gallerists (Larry Gagosian, Barbara Gladstone); and Twitter Paintings, sourced from tweets from the producers of Girls, including Lena Dunham.
Design Office with Kim Gordon - since 1980, through October 19, 2013, White Columns, 320 West 13th Street, NYC
A traveler in Germany might be tempted to skip Dusseldorf, which isn't exactly on the style map, instead rushing to the louche underground and übercool neighborhoods of Berlin. And yet, Dusseldorf's fashion importance should not to be underestimated. After all, that's where Claudia Schiffer's sterling career started.
But seriously, there's another reason Dusseldorf matters right now. This summer, the city boasts one of the best fashion exhibits of the year, Azzedine Alaïa in the 21st Century, an ode to the cult designer that was first staged in Groninger, Netherlands, last year. Focusing on his oeuvre from 2003 to 2011, the 70 pieces displayed at NRW Forum effectively summarize his aesthetic, a timeless, universal message of unequivocal seduction, elegance, and simplicity — all of which he's somehow able to express through a body-revealing, hourglass silhouette cut in luxurious and lush textures.
Alaïa is primarily a client-focused dressmaker, so curator Mark Wilson concentrated solely, and wisely, on the clothes. He's displayed them by fabric, offset by vibrant colors. For example, leather pieces are exhibited in a bright green room, while velvet pieces are housed in another blue space.
There are no display cases, so visitors get to appreciate, without touching, the exquisite craftsmanship of the clothes. Pure in shape, user-friendly, and surprisingly logical (summer dresses are often ventilated with small holes), they are the result of expert cutting and ingenuous construction. An ensemble is entirely made of tiny bits of leather held together by hooks; bugle beads are finely inserted into knitwear; and the pièce de résistance is clearly a black zippered column dress that peels away from the body.
The only outside element is a black painting by Christoph von Weyhe, Azzedine Alaïa's longtime partner.
Want still more Alaïa? Then don't miss his retrospective at the Musée Galliera, opening September 28, 2013. That's Paris, so you have absolutely no excuse for skipping.
On its calendar of events, Anthology Film Archives correctly says, "The name Russ Meyer evokes two things, and you know what they are." Indeed, the shamelessly, fantastically lecherous 1960s film director was all about breasts, big breasts, the bigger the better, attached to Amazon women who looked like dominatrixes, but exaggerated, and who perhaps moonlighted as such.
In camped-up, sexploitation B-movie roles that would make John Waters blush and feminists recoil in horror, these actresses captivated and titillated audiences as they hunted down, tortured, and otherwise terrified their male counterparts. For these reasons and more, Anthology's mini-festival of Russ Meyers films — The Glandscape Artist — is a must. It's not often his larger-than-life women return to the big screen...
Wild Gals of the Naked West (1962)
Thu, Aug 15, 7:15 pm
Thu, Aug 22, 9:15 pm
Sun, Aug 25, 5:15 pm
Motor Psycho (1965)
Thu, Aug 15, 8:45 pm
Sun, Aug 18, 7:30 pm
Sat, Aug 24, 5:15 pm
Faster, Pussycat! Kill! Kill! (1966)
Fri, Aug 16, 7:30 pm
Sun, Aug 18, 9:15 pm
Sat, Aug 24, 9:30 pm
Fri, Aug 16, 9:30 pm
Mon, Aug 19, 7:15 pm
Sun, Aug 25, 3:15 pm
Sat, Aug 17, 5:00 pm
Tue, Aug 20, 9:30 pm
Sun, Aug 25, 7:00 pm
Beyond the Valley of the Dolls (1970)
Sat, Aug 17, 6:45 pm
Mon, Aug 19, 9:15 pm
Fri, Aug 23, 9:15 pm
Sat, Aug 17, 9:15 pm
Tue, Aug 20, 7:15 pm
Fri, Aug 23, 7:00 pm
Sun, Aug 18, 5:00 pm
Thu, Aug 22, 6:45 pm
Sun, Aug 25, 8:45 pm
Looking for something to hear on August 8 and in the mood for cheeky early-80s synth-punk? Well you're in luck, because the American band Crash Course in Science are, after playing live European dates all this time, coming to America for a super-rare gig. We hear they're keeping it real by using as many analog synthesizers as they can, instead of boring laptops. They'll be joined by Brooklyn electronic duo XENO & OAKLANDER and DJ Scott Mou.
Their songs Cardboard Lamb and Flying Turns put them on the map in the early 80s, inspiring recent remixes by David Carretta, Vitalic and Villalobos...
Here's their original — and funny! — version of Cardboard Lamb...
Crash Course in Science w/ XENO & OAKLANDER
Thursday, August 8, 2013
Le Poisson Rouge
9:00 pm (doors open at 8:00)
$10 - $12, buy tickets here
While the topic of bath salts is not part of the exhibition "FACELESS part I" in Vienna, other forms of grotesque muglessness are. Inspired by the events of 9/11 and the rise of the Internet, curators Bogomir Doringer and Brigitte Felderer pulled together contemporary works that address notions of identity loss, self-seclusion, and masking.
Participating artists and designers include Marina Abramović, Gareth Pugh, Viktor & Rolf, Maison Martin Margiela, Slava Mogutin, Jun Takahashi for Undercover, and Katsuya Kamo for Junya Watanabe.
Says Felderer: "The grotesque faces the media bombards us with not only affect our sense of self, not only confront us with unequal reflections, but also ensnare us in excessive self-control. They have long since left marks that are indelibly engraved in the almighty web. Eternalized in the book of faces, we become findable, identifiable. Ultimately, all our projections and desires are revealed, and worse yet are divulged to entities of control both legal and secret. We emerge and can never disappear from view again."
Which brings us to the second part of the exhibition. Currently, non-artists who want to "join the research" may upload their own faceless pics, some of which will be selected by Doringer and presented in “FACELESS part II,” opening September 27.
"FACELESS part I" (July 4 - September 1, 2013) and “FACELESS part II” (beginning September 27, 2013), Freiraum Quartier21 INTERNATIONAL, MuseumsQuartier, Vienna