Created in collaboration with Japanese hair salon/publishing house Salon Shizen a new book featuring photographs by Richard Kern, entitled 10:41, it features new images of young bodies “frolicking in the leafy Connecticut countryside.” The series features very prominently Kern’s favorite symbole of youth and nubile eroticism: the cell phone; hence the name of the book is the time on most everyone’s phone when he took them and put them in a pile. The book is is available at Salon Shizen and Opening Ceremony. Come March, Kern is set to release Shot By Kern, his first Taschen book in four years, chronicling his experience doing a video series for Vice called Shot By Kern, in which the magazine films his shoots and interviews his models. The monograph is to be accompanied by an hour and 20 minutes of footage and a New York exhibition some time in the next year.
Actress Amy Adams in Boy by Band of Outsiders, shot at The Autry in Glendale, California
Commissioned from M/M (Paris) to celebrate both their twentieth anniversary and the publication of the definitive monograph of their work, the exhibition of elaborate rug designs acts like a condensed catalogue – or Carpetalogue – for M/M’s practice. Michaël Amzalag and Mathias Augustyniak originally established M/M (Paris) as a graphic design studio in 1992. Their close associations with the music, fashion and art worlds have led to their becoming one of the most distinctive and acclaimed creative voices of their generation, within graphic design and beyond. The hand-knotted wool carpets, specifically produced for the exhibition by Abhishek Poddar in Varanasi, India, will be sold as limited editions through the gallery. The monograph, M to M of M/M (Paris), written by Emily King, designed by Graphic Thought Facility and with a foreward by Hans Ulrich Obrist, will be published by Thames and Hudson and launched during the exhibition. M/M (Paris) Carpetologue 1992 to 2012 will be on view until December 15 at Libby Sellers Gallery, 41, 42 Berners Street, London.
Private—a word from the past, or so it would seem these days. A word of hardly any relevance in an era when everything—from one’s favorite recipe to one’s current relationship status—is posted on Facebook. Exhibitionism, self-disclosure, the delight in telling stories, showing off, and voyeurism are the social strategies in today’s world—a world that has long since undergone a structural transformation of the public sphere. In contemporary art, domestic scenes and personal secrets are mirrored in photographs, Polaroids, cell phone photos, objects, installations, and films. The familiar and intimate are put in the picture. Through a consideration of numerous contemporary approaches the Schirn investigates the dwindling private sphere and the “publicness of the intimate.” Aiming her camera through a rear courtyard window, Merry Alpern captures blurred scenes of hurried sexual encounters; in his romantic video piece Akram Zaatari explores an online chat between two men; and Fiona Tan combines private snapshots from different countries to create large tableaux. The exhibition undertakes memorable excursions to the fragile borders between the self and the other. Other artists include Dash Snow, Mark Morrisroe, Ai Weiwei and Marilyn Minter. Privacy will be on view from November 1, 2012, to February 3, 2013 at the Schirn Kunsthalle, Romberg, 60311 Frankfurt
Presenting the music video for Casket Girls’ track Sleepwalking, shot and edited by Kevin Canavan entirely on a broken VHS camcorder. The Casket Girls are a new three-piece band hailing from Savannah, GA. Comprised of Ryan Graveface (Black Moth Super Rainbow, The Marshmallow Ghosts, Dreamend) who wrote and played all the song structures, and newcomers, Elsa and Phaedra Greene, who wrote and performed all of the vocals. On Sleepwalking, the band’s first release, the unique collaboration bears to be more than the sum of its parts – as the girls’ haunting and upbeat pop sensibility imbues Ryan’s inspired instrumental musings with such a sense of purpose that you must wonder how one could exist without the other. But, The Casket Girls happened – as most things do – by accident. Ryan was visiting his future home, and in walking through one of the city’s 22 squares, he happened upon two girls playing autoharp and singing bizarre songs. He watched from afar, eventually approaching them with the idea for the band. Ryan had been (and still is) obsessed with the Shangri-Las, and the sisters personified his desire of a far darker and more complex version of the 60s group. See music video after the jump. [CLICK HERE...]
Israeli artist Shai Yehezkelli’s painting is busy, rhythmic and fast, wild and free. He works on various surfaces, some of which he finds in the street, and his paintings shifts from “bad painting” to subtle poetic touches. His palate is full of pinks and reds, as if leaping out of a painting by Mattisse. The images span a wide range of references and quotations, each of them disrupt or alter the source; the pitchers look like disrupted quotes of still life painting. Yehezkelli paints with and within art history, but also beyond it. Rough handwritten captions, sometimes written in Hebrew and sometimes in English, convey political and inter-textual messages. When all of those are displayed side by side, the aggregate of captions and titles turn into a discourse on art, which is as valuable as the language of the painting itself. An exhibition of new works entitled Forever Sweat-Beads will be on view from October 18 to November 24, at Julie M. Gallery, 10 Betzalel Yafe St, Tel Aviv, Israel
Wildfox presents a new collection of intimates as part of their White Label for Fall 2012 – “This collection is for girls who only have whiskey in the freezer, milk and leftover cheesecake in the fridge, dream constantly, and love to gaze at the canals from their window in Venice. They bike everywhere, kiss strangers and waltz through the house to Frank Sinatra on vinyl.” See more photos after the jump. [CLICK HERE...]
Paul McCarthy’s White Snow Head at Hauser & Wirth at Frieze Art Fair, London 2012. Sold for 1.3 million.
Jim Lambie ‘Untitled’ (2012) at Sadie Coles HQ at Frieze London 2012. photograph by Linda Nylind
Walter Pfeiffer’s Scrapbooks from 1969 to 1982 are a very unique Wunderkammer (cabinet of curiosities). Pfeiffer’s Polaroids and photographs alternate with miscellaneous objects – newspaper clippings, postcards, packaging, tickets – and brief punning notes. Pfeiffer assembles all of this into a large collage full of surprising references and comparisons that is both a visual diary and creative foundation of his artistic work. In his scrap books, Pfeiffer’s keen view of Eros, Zeitgeist and popular culture, his disrespectful humor as well as his appreciation for the poetry in the mundane and banal, are sharply revealed. They offer a view into Pfeiffer’s meandering and playful universe and are a contemporary document that captures the Zeitgeist of the 1970s and 1980s with ephemeral elegance. Walter Pfeiffer’s Scrapbooks 1969-1985 is available now on Motto Books.