This Wednesday, on September 11th, Rick Owens will be signing copies of his newly released books published by Rizzoli, “LeGaspi by Rick Owens” and “Rick Owens Photographed by Danielle Levitt” at his New York flagship store from 6PM – 8PM.
For the followers of art and design May in New York is a busy month. There are art fairs, design fairs, the Met fashion exhibit, and a myriad of events. Before long, the entire thing starts resembling your social media feeds – colorful, bubbly, but ultimately quite tiring and unfulfilling. You long for a quiet corner of the world where your brain can get back into a contemplative mood. The new exhibit of Deborah Turbeville’s photography at Deborah Bell’s gallery on the Upper East Side is just the ticket. It is an intimate show of intimate photography in an intimate setting. By god, it is restful!
Paolo Roversi’s dreamy images have sent this reviewer’s heart aflutter for many a year, so if this review is biased, don’t shoot the messenger. The painterly quality with which Roversi imbues his soft-focus photos takes them out of our age and puts them in one not so much defined in historical terms, but in terms of literary fiction, of worlds made up by the sheer force of human fantasy.
This Italian – and according to Roversi himself, he is very Italian in the art historical sense – has produced a stunning number of stunning photos in publications ranging from Vogue Italia to Another. A source of constant consternation for me has always been the lack of books about Roversi’s work. This past January, during my visit to a Roversi’s exhibit at 10 Corso Como in Milan, I spent a significant amount of time in nail-biting anxiety in front of a table strewn with Roversi’s books, some rare ones, weighing the heft of my wallet and the capacity of my luggage. What I am trying to say is that any time a Roversi book comes out, it’s an event. And so the new book of Roversi’s images of Dior’s haute couture, newly published by Rizzoli is a welcome gift, incredibly well executed to give Roversi’s otherworldly images their due.
I am going to assume that you are into fashion photography, and if you are, I am going to assume that you undoubtedly know the groundbreaking work of the French photographer Guy Bourdin. And even if you don’t know the name, you’ve seen the photos, the sexy without being cheap, the playful without being tacky images in which color burst off the page, the perspective questioned the conventional wisdom of your line of sight, and the careful staging let you know that photography is way, way more complicated than simply pressing a shutter button.
This hasn’t been the case with fashion designers until the 2010 suicide of Alexander McQueen. And while you couldn’t exactly sell his artwork at inflated prices, an entire post-mortem cultural industry sprang up around his legacy. This is a testament not so much to McQueen’s unquestionable genius, but to how much more central fashion has become to the contemporary cultural experience. (We did not see such an explosion of media after the murder of Gianni Versace, for example.)
In the 1990s, Alexander McQueen formed a close relationship with the photographer Ann Ray (Anne Deniau), allowing her to photograph his studio and shows forming what he called, ‘my life in pictures’. Thirteen of these pictures will be on display at V&A in preparation for the upcoming exhibit Alexander McQueen: Savage Beauty.
The work of Francesca Woodman, the prodigious photographer who took her life in 1981 by jumping out of a window, is now on display at the Marian Goodman gallery in New York.
Interest in Woodman’s work has resurged after the 2011-2012 exhibits at the Guggenheim Museum in New York and the San Francisco Museum of Modern Art, with several books being published in their wake.
As the singer P.J. Harvey prepares to record her new album, we decided to publish this slightly abridged version of the article about Harvey’s last album, Let England Shake, and about her friendship with Ann Demeulemeester and Patrick Robyn.