38 posts tagged art
blow me #art #collective1 (at Collective .1)
CAN WE TALK ABOUT HOW THIS IS MY NEW FAVOURITE TUMBLR LIKE BASICALLY EVER NO REALLY LIKE EVERYTHING I LIKE EVER JUST EXPLODED INTO A BUNCH OF CRAPPY MACROS OF BIKINI KILL LYRICS OVER PRERAPHAELITE PAINTINGS, DYING RIGHT NOW IN SO MANY WAYS THAT I REALLY NEED TO BLOG ABOUT IT IN ALL CAPS AT ONE IN THE MORNING (also like, I’m sorry, beyond the side splitting hilarity it’s AWESOME considering everything about all this art, if anyone ever needed some Kathleen Hanna it’s THESE ladies.)
I also want to sort of talk about this professor I had in college, Wendy Graham, who taught this wacky class on — I don’t even know what it was about, I feel like “deviant sexuality” was in the title of it and the ending half of it was “decadence in the fin de siecle” (which judging from my tumblr name kicked off a lengthy ongoing obsession) — other than that we read Bataille and Sacher Masoch and Deleuze and whatever and talked about the preraphaelites and listened to the Velvet Underground and at least once a week she wore this absurd yellow plaid kilt suit THING, I think there was actually a Facebook group about it — ANYWAY. Good god, that yellow plaid kilt suit thing. But I wish I could have just thought to do this instead of writing whatever lengthy half-formed terrible sophomore-in-college-brained-papers I cranked out for her class.
The Met right now has a special exhibition from the Costume Institute and the Brooklyn Museum called “American Woman: Fashioning a National Identity,” which of COURSE I’m conceptually, ecstatically losing my shit over. Let’s just quote their press release for moment:
“It will explore developing perceptions of the modern American woman from 1890 to 1940 and how they have affected the way American women are seen today. Focusing on archetypes of American femininity through dress, the exhibition will reveal how the American woman initiated style revolutions that mirrored her social, political, and sexual emancipation. “
Oh, HELL YES. Though that description is (of course) a little exaggeratedly positive and optimistic, pretty much anything involving old dresses and phrases like “archetypes of American femininity” is going to get me going. Here’s their lil’ video of the exhibit:
While I haven’t had the chance to make it uptown to see it yet, I hiked out to the Brooklyn Museum (where the Met borrowed the dresses from) with my mother today and got to check out an extension of the exhibit - ”American High Style” - a collection of 85 or so pieces meant to re-introduce the BK Museum’s couture and costume collection after years in storage. While it’s a little heavy, as expected, on the couture end of things (too many evening gowns! not enough day dresses! not everyone was rich and partying, goddamnit!) it was beautiful and well worth the trip.
Pix after the jump — excuse the sub-par quality. I WAS BEING STEALTHY with a point’n’shoot.
I’m kind of a sucker for heavy-handed obvious art history references in fashion editorials, especially Victorian ones, and especially ones involving sassy-looking vampy women and iconic paintings of them as opposed to another goddamned drowned-but-disturbingly-sexually-posed Ophelia floating in a swamp looking underaged and very, very dead.
Thus: Benny Horne’s photographs of Tasha Tilberg for The Block’s Spring 2010 issue in an editorial called “Madame X.” (Like, it’s a John Singer Sargent reference, guys!!!) I love that only one photo is obvious — the white-skin-dark-background contrast, the black dress, the twisting pose showing off an hourglass figure, the undone teased hair — but the rest of the ed still obviously channels that whole distressed-haughty-American-expat-trying-too-hard-to-be-a-French-socialite thing.
Somehow, the rest of George Vlasich’s almost painfully tacky Americana-and-sports subject matter makes perfect sense on, uh, such a tacky Americana medium, but I think I’m gonna go so far to say that if there’s one thing I never imagined running across in my life and am totally floored by, it’s probably INSANELY DETAILED MICHAEL JACKSON AND JAY-Z 50’S-LUNCHBOX-STYLE ART DONE ON AN ETCH-A-SKETCH. Yeah, that just happened. Amazing. [via LAEM]
I hiked up to the Cooper-Hewitt this weekend to check out the Rodarte exhibition; sort of hate to admit to this since it’s going to make me sound like a stingy uneducated brat, but the whole thing was vaguely disappointing — beautiful clothes and the insanity of the woven leather etc on those SS10 dresses I loved so much is unbelievable, but…I kind of waxed poetic for 8 or 9 minutes on how we look at clothes differently and consider their value differently whether they’re on a store mannequin or in a museum behind glass blahdyblah art medium museums value omg what is art blahyblahblah.
And by that I mean I was more like, “What the fuck, they’re selling that FW09 dress and marbled leather jacket at Opening Ceremony right now and I have TOUCHED them before, and we could have just gone to Jeffrey’s and I could have put those Kirkwoods on my FEET for ten minutes and like ‘interacted’ temporarily with all this inaccessible art for FREE instead of paying $15 to look at them from across the room. I thought they’d at least have some PICTURES or more TEXT or something.”
Seriously though, the video about the exhibit and their FW 2010 show and American landscapes and collage and ALL THAT GOOD STUFF is infinitely more interesting (and time consuming, in a good way I mean) than actually going to the museum to look at the clothes.
Also at the Cooper Hewitt in the USA Design exhibit: Rick Owens leather jackets next to office chairs and photos of the Highline, which is actually pretty hilarious/awesome. And above: Clayton Cubitt’s photos of the Rodarte FW2010 show, which actually appear to be digital shots of his computer monitor during the livestream, which seems strange but all the washed out graininess and reflected flash somehow ends up looking strangely ghostly and wonderful.
I’ve been seeing these series of faces chalked on the sidewalk all around the neighborhood where I work and it sort of makes me smile every time I see them.
Incidentally, here are the rest of those instax polaroids from the Katie Gallagher presentation. Ooooh. Even more incidentally, I’m sort of bummed that I’ve been overusing scifi/Star Wars/Blade Runner/Fifth Element references and descriptions in everything I’ve been writing about this week, because I don’t think it applies as appropriately to anything else other than this ThreeAsFour collection. SO MUCH AWESOME I JUST WANT TO DRESS LIKE 90S SCIFI ALL OF THE TIME OH MY GOD YOU GUYS.
Also, I just need to say — holy shitballs, kids, every last one of you commenting and talking and arguing and everything on my last post are super awesome and proving EXACTLY what I was trying to say, and I’m flattered/baffled/impressed/amazed that so many of you sat through that epic ramble. I’ve added a formspring here for any questions/comments/submissions/suggestions/random nonsense anyone might have about anything — other than that, keep on doing your thing.
Not the song I would have expected for a single and admittedly a bit slow, but the Yeah Yeah Yeahs new video for “Skeletons” is still awesomely creepy and full of ghostly marching band and mist and dead famous people and awesome makeup. According to Babelgum’s lil’ blurb about the video, Karen O’s costume (Christian Joy, presumably?) and dancing was inspired by Loïe Fuller — which is worth a post of some of the awesome posters from her performances at the Folies Bergère.
From the irreverent phrases and Western/American-Gothic letterpress to the overlaid muted colours, I really loved a lot of the posters, cards, and prints from Yeehaw Industries (also at Etsy) that I came across at the Chelsea Market’s holiday pop-up on my lunchbreak yesterday.
Given my unnatural obsession with temp tats, I’m in love with these script ones by the renowned Scott Campbell for vending machines at Art Basel Miami, which I’m hearing is actually supposedly pretty cool. Granted I’m usually more into wash-off unicorns, dinosaurs, rainbows, and skulls, but you have to admit these are rad. [via gnarlitude]
As is the case far too often, I can’t read very much at all of Annette Pehrsson’s blog, Hymn for the Cigarettes, but I love her calm, muted, soft-focus photos. Also, she appears to have (or have access to) an awful lot of adorable kittens, which I’m not going to complain about.
This is insane — British artist Steven Wiltshire’s autism has given him a remarkable photographic memory which he uses to draw cityscapes and skylines in intricate detail (like, down to architectural details on individual buildings) totally from memory. He’s currently drawing a panorama of New York on an 18-foot-long canvas at Pratt, which you can watch live on uStream until he’s done here. [via Limité]