Is there a designer who doesn't take photos on the side? How better to reinforce a label's image? That's the thinking behind Russian designer Gosha Rubchinskiy's new book, Youth Hotel ($45), published by Dover Street Market's IDEA imprint. That IDEA is in the business of fast-publishing — as in only a few days — is very much in keeping with the transient, move-by-night nature of Rubchinskiy's own youth in Russia.
Of all the parodists poking fun at fashion today, few are as wickedly spot-on as Kalen Hollomon. Long a fave of ours, the New York artist's eye for the taboo and his lo-fi cut-and-paste technique subvert the intended message of fashion campaigns and mashes them with images of ordinary life to provocative effect.
Hollomon currently has an exhibit of his work at Colette in Paris, a series of original handmade collages on luxury pieces as well as seven new photographs taken around New York, turned into ad images and slapped with a fashion logo.
Kalen Hollomon, September 28 - October 24, Colette, Paris
Given fashion exhibitions' new limelight, a most intriguing Karl Lagerfeld exhibition at the Bundeskunsthalle museum in Bonn, Germany, has been drawing visitors far and wide. But as the couturier's aversion to retrospectives is well-known, how would co-curators Rein Wolfs (also the museum's director) and Amanda Harlech (also Lagerfeld's right-hand at Chanel) tackle an exceptional 61-year career? Wolfs told Hint that they "excluded a retrospective character of the exhibition right from the beginning and wanted to show his exceptional quality of profiling different labels [often] at the same time."
The audience is first greeted by a recreated Lagerfeld office, with sleek chairs and a table laden with books ranging from Doris Lessing to Beau Brummel to Man Ray, as well as glue, pencils, and stationery. On the floor are bags from one of his favorite Parisian bookstores, Galignani, next to crumpled balls of paper. The set reflects his aerobic, magpie creative mind, and also his appetite for paper, the sub-theme of the show. "It's about Karl's vision, which he draws," said Amanda Harlech in German Vogue, "then this creation comes to life, before becoming a photograph, which is another piece of paper."
From the late 1950s until his death in 1987, Andy Warhol toted a Polaroid camera with him wherever he went. He was thus able to capture the barrage of famous faces — including his own — and fleeting moments that swirled around him with every step. Not even his private time was off-limits.
A new book, Instant Andy (Taschen), features hundreds of the instant snaps he took — many of them unseen — decades before Instagram. In conjunction with the book's release, Christie's will hold an auction of the artist's polaroids from September 17-29.
"His MO was to attack through beauty," writes Steven Klein, himself a provocateur, in his foreword to Gloss (Rizzoli), the new and first monograph on Chris von Wangenheim. The German-born, New York-based 70s photographer, before his own violent death in a car crash at the age of 39, was the third in a triumvirate — along with Helmut Newton and Guy Bourdin — associated with dark, dangerous, disturbing depictions of glamour. "It is a fascinating and daunting notion, one that I apply to my own work."
Exhaustively researched by Roger and Mauricio Padilha — also authors of Rizzoli's Antonio Lopez and Stephen Sprouse titles — the book contains over 200 of these provocative, graphic images and fashion campaigns (Dior, Valentino, Calvin Klein) that von Wangenheim somehow managed to convince supes (Gia Carangi, Christie Brinkley, Lisa Taylor) to model in and glossies (Vogue, Harper's Bazaar, Esquire, Interview) to run. His powers of persuasion, likely bolstered by his friendship with the unassailable Anna Piaggi, enabled his brand of savage chic to reach and shock the masses, challenging outmoded taste levels all around the world, which was precisely his point.
Proving that early photography was not the exclusive reserve of the West, a new show at the Met displays 100 years (1870s - 1970s) of portrait photography made by and for Africans — particularly West Africa, countries like Senegal, Cameroon, Mali, and Nigeria.
These 80 works, many of which are being shown for the first time, were taken both inside and outside of the studio, by amateurs and professionals alike, including Seydou Keïta, Samuel Fosso, and J.D. ‘Okhai Ojeikere, as well as lesser-known artists. Together they explored the unique African potential of the medium that swept the continent as soon as it arrived in the 1840s and 50s. Present in almost all of the work is a certain self-possessed dignity of the sitter, in spite of, or perhaps in response to, the ravages of colonialism.
Photographic Portraits from West Africa, August 31, 2015 – January 3, 2016, Metropolitan Museum of Art, NYC
Swiss photographer Edo Bertoglio became involved in the downtown scene right as the crazy, colorful, frenetic, plastic 80s era was picking up steam.
His new book, New York Polaroids 1976-1989 (Yard Press), shows a candid side to the likes of Andy Warhol, Grace Jones, Debbie Harry, Madonna, and his good friend Maripol during the endlessly alluring time.
Wes Anderson's vast, zany fan club seems almost as ubiquitous and rabid as Taylor Swift's. You've seen them; think ennui-stricken, fur-clad Margot Tenenbaum wannabes and mopey, beanie-wearing Steve Zissou doppelgangers. And like any good cult, they wield fan art, loads of it, equally schlocky, meticulous, horrifying, and genius. Now they’re having their self-styled kitsch featured in an exhibit in an actual New York gallery — 100 unframed pieces by 70 artists in homage to the filmmaker's eight films.
Well, not so much an exhibit as a two-day pop-up. Titled 'Bad Dads,' the idea sprang from San Francisco art writer Ken Harman's imagination in 2010 as a Halloween masquerade party. That first show was such a hit that it inspired Harman to open his first gallery, Spoke Art, and continue his yearly tribute to the cinematic auteur, this year making its New York debut — for better or worse, the worse the better.
Elio Fiorucci — who died this week, aged 80, of unknown causes — championed a neo-glamour with a wink and a nudge throughout the 70s and 80s. Not only was he an early pioneer of the cheeky, bold, bright style that came to define the over-the-top 80s look, but he transformed his stores in Milan, London, Beverly Hills, and especially New York into creative hotspots, where celebrities and the demimondaine would collide in performances and happenings. The NY outlet became known as the 'daytime Studio 54,' where the likes of Andy Warhol, Cher, Jackie Onassis, Liza Minnelli, Keith Haring, Grace Jones, and Klaus Nomi mingled.
The mild-mannered Italian became such a sensation that he was namechecked in a Sister Sledge song and in Mark Leckey’s cult 1999 club-culture film Fiorucci Made Me Hardcore (which coincidentally was the inspiration for Raf Simons' spring 2016 collection). From signature stretch jeans to campy ad campaigns, here are some of Fiorucci's choice moments...