Spotted outside a Bar on Avenue A near 13th Street in NYC’s East Village.
Paco Rabanne presented his first fashion collection in 1966. It was entitled 12 Dresses in Unwearable Materials and included garments made from links of plastic fastened with metal hoops. Rabanne had proven that fabric, needle and thread were not altogether necessary to clothing design, and he quickly gained fame for his defiance of tradition.
Ready-to-wear Dress Circa 1966: Silver and Black Plastic Discs, Metal Hoops. Photographed in the Museum at FIT in Manhattan.
Do you fantasize about owning a Plush Bear that’s as tall as, and likely (hopefully) much, much rounder than you are? If so, then your search is over, and all you need to make that dream a reality is 1,300 American dollars! Here’s what I can tell you about the World’s Largest Rilakkuma Plush:
“Brought to you by San-X Japan, Rilakkuma is loved for his cuddly cuteness and tendency to to be lazy. Rilakkuma is big in Japan, big in America, and now . . . BIG in your house! This gigantic jumbo plush measures in at 6 feet tall and weighs 24 lbs. He’s so big, you could probably just use him as a chair. But if not, he definitely makes the comfiest BFF ever. Includes signature zipper and blue polka dot material inside.”
$1,300 you say? I say: worth it.
Spotted in It’s Sugar on Broadway in Downtown NYC.
Norman Lewis (1909 – 1979), began his art career as a figurative painter, focusing on life in Harlem. In 1946, he announced that he wanted to create art that broke away from what he called “its stagnation in too much tradition.” Inspired by the writings and art of the Russian painter Vasily Kandinsky, one of the first artists to create abstract paintings, Lewis abandoned representation in favor of the “conceptual expression” of ideas. Like other Abstract Expressionists working in New York, Lewis was deep interested in music, and especially jazz, which influenced the painting of Phantasy II (1946). In an automatic process he made a linear composition with boldly colored lines and forms akin to the improvisational structure of jazz.
Photographed in the Museum of Modern Art in NYC.
It’s always an extra-special treat when I can find an animated clip for the weekly Sunday Jam, because it brings the whole concept that much closer to a ‘Weekend Morning Cartoon’ vibe, which I secretly live for. You’re Welcome.
Today we have an instrumental clip with the enigmatic title “Eno Nothing,” from Nashville’s Steelism — a group comprised of core-members Jeremy Fetzer (guitar) and Spencer Cullum (pedal steel player). “Eno Nothing” kicks off with our fearless duo leaving the house, embarking on an existential journey, and getting beamed aboard a drone-like craft. After stopping at an inter-galactic gas station to fuel-up, they visit many, many strange planets where they encounter such creatures as a gigantic purple tortoise, a Cthulhu and one of the benevolent aliens from Star Trek (I think). Later, they drop in on avant-garde composer and bonafide music legend Brian Eno, before ending up back where they started. Musically, “Eno Nothing” is The Toadies meets Steely Dan. Trust me on this one. It’s like Flight of The Conchords are writing the soundtrack to an imaginary sci-fi/fantasy flick!
“Eno Nothing” can be found on Steelism’s sophomore album, Ism, released in June via the band’s own imprint, Intoxicating Sounds (distributed by Thirty Tigers). Ism marks the first time the band brings featured vocalists into their instrumental canon, with guest appearances from Tristen, Ruby Amanfu, Andrew Combs and Jessie Baylin. Enjoy!
Every year , the Metropolitan Museum of Art hosts a fashion exhibit full of mind-blowing, ‘wearable’ works of art. We enjoy making multiple visits during each exhibit’s tenure, which generally lasts into late summer, and taking way too many photos than we will never do anything with. Because too may photos is a thing. and it is how we roll.
For spring/summer 2017, the Costume Institute’s exhibition examines the work of Japanese fashion designer Rei Kawakubo, founder of Comme des Garçons (French for “Like Boys”), who is known for her avant-garde designs and ability to challenge conventional notions of beauty, good taste, and fashionability. The thematic show features approximately 140 examples of Kawakubo’s womenswear for Comme des Garçons dating from the early 1980s to her most recent collection, many with heads and wigs created and styled by Julien d’Ys. 90% of the designs are just out of control, crazy couture that no one would ever wear anywhere but the runway, or one time only to a gala where you need to be remembered for wearing a dress that comes with its own cage, or something.
The galleries illustrate the designer’s revolutionary experiments in “in-betweenness”—the space between boundaries. Objects are organized into nine aesthetic expressions of interstitiality in Kawakubo’s work: Absence/Presence, Design/Not Design, Fashion/Anti-Fashion, Model/Multiple, Then/Now, High/Low, Self/Other, Object/Subject, and Clothes/Not Clothes. Kawakubo breaks down the imaginary walls between these dualisms, exposing their artificiality and arbitrariness.
If you are intrigued by the Pink Presses in this post, which is how I was able to distill the exhibit for this blog, then you need to check this shit out in person, because it is just insane.
Look: Proof that this ‘dress’ fits on a human body!
Rei Kawakubo / Comme des Garçons Art of The In-Between Runs Through September 4th, 2017 at The Met, NYC.
Pop Culture-themed Tile Mosaics by the French Street Artist known as Invader can be found all over the city, if you know to look up, and aren’t always staring at your fucking phone.
This one of a diminutive Spiderman, captured in the process of scaling the side of a building, adorns the front façade of what used to be a bank, located on the southwest corner of 2nd Avenue and St. Marks Place in NYCs east village. I believe it has been there since late 2015.
There’s cheap but reliable BBQ restaurant just across the street. And just around the corner to the right, you’ll see these familiar buildings.