Friday, December 30, 2011

You Know What's Up or Don't You


Azealia Banks featuring Lazy Jay

Thursday, December 29, 2011

Best Foot Forward

Happy New Year!
Sergio Rossi Rhinestone Lace Shoe Bootie,
$1,670 at

Doe Avedon

Photograph by Richard Avedon at the Gare du Nord, Paris, August 1947. Doe Avedon, model and actress, and the inspiration – along with Richard Avedon, her first husband – for the movie Funny Face, died last week at the age of 86.

Funny Face trailer

In 1949 Doe divorced Richard Avedon to marry Dan Matthews, an actor. “I would have crawled to the Bronx on my knees to bring Doe back,” Mr. Avedon said in 1993.

Book photo above from the excellent must-have Avedon Fashion 1944–2000.

Wednesday, December 28, 2011

Image of the Day

A preview from the Akris SS 2012 campaign – the model is Daga Ziober but I'm not sure who shot it... maybe Steven Klein? Minimal and beautiful and I love the white space around the image.

Tuesday, December 27, 2011

Image of the Day

Frederick Eversley: Big Red Lens, c.1985, on view at the Crystal Bridges Museum of American Art in Bentonville, Arkansas, which was financed and recently opened by Alice Walton, heir to the Wal-Mart fortune. Roberta Smith writes in the Times that "much more than just a demonstration of what money can buy or an attempt to burnish a rich family’s name, Crystal Bridges is poised to make a genuine cultural contribution, and possibly to become a place of pilgrimage for art lovers from around the world." (Read the rest of her profile and see a slideshow here.) Roadtrip to Arkansas, anyone?

Photo: Steve Hebert/NYT

This is 2011


I had a chance to watch Mike Mills' most recent film
Beginners on DVD over the weekend – the best movie I've seen this year.

Monday, December 26, 2011

Trying To Let It Go


Octo Octa "I'm Trying" from the "Let Me See You" 12"
(2011, 100% Silk). Video by Christopher Cote.

Free downloads here.

Image of the Day

I love the shadow and light in this Deborah Turville photograph, of models Zuzanna Bijoch, Maud Welzen, Bette Franke, and Fei Fei Sun, for an upcoming Valentino campaign.

Sunday, December 25, 2011

Merry Christmas


Parenthetical Girls "Festive Friends Forever"
from A Parenthetical Girls Family Christmas
(2006, Slender Means Society)

(photo: Seattle WA December 2011)

Friday, December 23, 2011

Hey Sparrow


Peaking Lights "Hey Sparrow"
from 936 (2011, Not Not Fun)
Video directed by Cam Archer

Off the Shelf

Continuing with the abstraction theme this week, The Quilts of Gee's Bend (Tinwood Books, 2002; monograph for exhibition of the same name).

We saw this exhibit when it traveled to the Whitney from the Museum of Fine Arts in Houston, and it was pretty fantastic. The older quilts radiated a beautiful sense of time and experience, and the color or the boldness of the lines in others made you feel like you could be looking at a Motherwell or a Rothko. It's strange then to realize that in just about every way the intent behind the work and the lives of the women who made – and continue to make – these quilts could not be further removed from anything going on in the mainstream art world.

Art lives everywhere.

(I am in a rush to leave town for the holiday, so I will have to
insert captions and credits later...apologies to the artists!)

"Gee's Bend" in its narrowest usage describes a geographical feature: one of several "bends" where the Alabama River makes an abrupt, looping turn. More broadly, Gee's Bend is the traditional but unofficial name of a small African American community centered at the town of Boykin and encircled by the river. -- Alvia Wardlaw (from the Introduction)
What nature created at the Bend, history has reinforced. Its people were all but forgotten after emancipation, subsisting from generation to generation as sharecroppers and tenant farmers for absentee white landlords....Isolation has spawned a mythology unique to Gee's Bend. Well into the twentieth century, the settlement was regarded as a throwback: an antebellum artifact, even an Alabama Africa. -- John Beardsley (from the essay "River Island")

The quilts are products of the brilliant originality that lived through the dark eras of slavery and Reconstruction. ...The [quiltmakers] are descended from generations of slaves who worked the Pettway plantation at Gee's Bend. The ancestors of these artists were so firmly rooted in that place that they stayed put on that peninsula in Alabama after the Civil War and established a tightly knit community that during the Great Depression was declared one of the poorest place in the United States and singled out for federal relief programs. -- Peter Marzio, Director, The Museum of Fine Arts, Houston (from the Preface)

Studying the quilts of this small community called Gee's Bend, one quickly realizes that they embody a strangely independent, or self-referring, aesthetic. To a certain audience, they may reverberate with the rhythms and patterns of other twentieth-century art, whether the German Bauhaus-inspired work of Josef Albers or Paul Klee, some of Barnett Newman's compositions, or more contemporary painters such as Sean Scully. Yet these parallels quickly seem irrelevant. To claim too much "originality" would be pointless – and yet it is equally fruitless to attempt to establish actual influences from other art...Our fascination with these quilts lies in part in the impact they have on modern "high art," yet the quiltmakers of Gee's Bend cannot be shown to be directly, or for that matter indirectly affected by the mainstream art world. -- Jane Livingston (from the essay "Reflections on the Art of Gee's Bend")

[T]he Gee's Bend aesthetic . . . is as inventive as the town's social history is intricate. . . . [A] totally unselfconscious approach to the act of making art prevails …. This is an aesthetic of the here and now. An unabashed immediacy permits the women to make snap decisions about a quilt and move on, sharing their decision-making with us. Theirs is an aesthetic of contemplation, but not hesitancy. The results are large-scale geometric permutations of pure color and form-bars and bands of color offered up in bold confidence, intricate triangles playing visual eye games.... -- Alvia Wardlaw (from the Introduction)

Working with "useless" bits of cloth, these artists seem to follow linear patterns–a classical path to beauty. But they also show a profound color sense that is as refined as that of any professional artist. The women know one another's styles as confidently as Jackson Pollock knew his as compared to Willem de Kooning. These women learn from one another but strive to be themselves. Their quilts are both the signatures of individuals and the banners of a community. -- Peter Marzio, Director, The Museum of Fine Arts, Houston (from the Preface)

Image of the Day

Bacon and spinach-stuffed rib-eye roast, photographed by Marcus Nilsson from Bon Appetit's Holiday Roasts Slideshow


One choice selection from 16 Amazingly Terrible Christmas Cards.

Thursday, December 22, 2011

Best Foot Forward

I tried these (but with gold spikes) on at the store in the West Village. So killer, and devastatingly, not my size. My store credit survives to fight again another day.
Christian Louboutin Pigalle Spikes (120 mm),
$1,195 at Christian Louboutin.

Can It Be

David Bowie & Bing Crosby: "Peace on Earth" / "Little Drummer Boy"

Wednesday, December 21, 2011

It Must Be in the Air Here

Lopez Island, WA, August 2011

This past weekend I was at a party, and at one point I happened to be standing around outside with some of my homegirls – beautiful, smart, ridiculously talented, and – best of all – hilarious, every one. (This is no exaggeration.) I had two thoughts: one, how did I get so lucky? And two – not to take a thing away from my amazing girls elsewhere, but – why are Northwest girls so damn awesome? I'm just saying, because they are.

I feel like a theme song is in order. This doesn't quite cut it, but it'll do for now.

Say Hi, "Northwestern Girls"
from The Wishes and the Glitch (2007, Euphobia)

This concludes my sentimental moment.

Recent Acquisitions