…The Empire of Space is a lavish look at Eberle’s career and features many rare and never-before-published portraits, landscapes, still lifes, and interiors. In the spirit of Walker Evans, Eberle creates an enduring and poetic portrait of America, the arts, and architecture through thoughtfully contrasting and analogous photographs. This exciting and definitive book on Eberle’s illustrious legacy is sure to rank among the most important publications to mix modernism, minimalism, and photography. www.rizzoliusa.com
Zana Baye, Fall/Winter 2011/2012. The Standard Hotel, New York, NY. 30-June-2011.
Look out for Alia Penner’s artwork in the first issue of Autre Quarterly. Sign up for the newsletter to find out where you can find a free copy!
Daniel Volker’s ‘Crossover’ series combines historical paintings with modern erotica. www.danielvoelker.com
The Arts Décoratifs has given ‘carte blanche’ to one of the most innovative and creative fashion designers of our time: Hussein Chalayan. Born in Nicosia in 1970, he moved to London as a child traveling back and forth between Cyprus and England until he went to university. He earned his degree from Central Saint Martins College in 1993. Following his own unique approach to design for seventeen years, he stands on the frontier of fashion, architecture and design. His work is characterized by an intellectual rigor and a quest for technical perfection that often defies fashion stereotypes. Chalayan stood out from the start of his career through his highly inventive exploration of various mediums, including sculpture, furniture, video and special effects, which he uses in his fashion shows, drawing inspiration directly from the political, social and economic realities of his era. Hussein Chalayan ‘Fashion Stories’ showcases this rich, complex world, in which clothing, installations, fashion shows, projections and research are shown by side to illustrate Chalayan’s distinctive process. www.lesartsdecoratifs.fr
….Polly Morgan is at the very forefront of modern taxidermy. She has contributed to a shift in public perception that has taken ‘the art of preparing, stuffing and mounting the skins of animals with lifelike effect’ to places never dreamed of by its original Victorian practitioners. The vitrines are still there but little else remains. Birds are taken out of their natural habitat and are reassembled, often in mass, creating sculptures of astonishing and often disquieting beauty. For ‘Psychopomps’ at Haunch of Venison last year, this theme of disintegration and recomposition was keenly explored. ‘Burials’ takes this idea to its logical end, interment and then potential rebirth elsewhere. ‘The coffin’ (Carrion Call), with its shrieking chicks, makes a welcome return, this time transported to the dimly-lit backroom of a Venetian palazzo; Count Dracula’s transportation of his own coffins from Transylvania to Carfax Abbey in London, performs an almost perfect reverse. A sense of imprisonment and the futility of escape dominates this exhibition, escape is actually, both metaphorically and physically, an unlikely possibility. Three new-style works adorn the walls, in the shapes of a spade, a coffin-lid and a headstone respectively. Other large-scale pieces that further celebrate the themes of rebirth and spring are also included in the form of an ancient (much twisted) maypole and a scorched flying machine held aloft by flame-orange finches and canaries. Polly Morgan ‘Burials,’ her first solo show in Italy, is on view until July 22 at the Workshop Arte Contemporanea in Venice – www.workshopvenice.com