Have you already been to the Metropolitan Museum of Art to see this year’s fashion extravaganza, Heavenly Bodies: Fashion and the Catholic Imagination? It’s pretty amazing, right? But did you know that the exhibit also extends to The Cloisters museum in upper Manhattan? If you haven’t made it up there yet, then you are seriously missing out on seeing many of the best pieces in the exhibit! But don’t worry, you’ve still got time to see everything, including this ethereal design by one of our favorites, Jean Paul Gaultier!
The Communion Ensemble, from Gaultier’s Spring /Summer 2007 Haute Couture Collection, is made of pink silk mousseline and displays a chalice formed out of gathered chiffon and overlaid with a brown cotton lace applique, which echoes the delicate filigree of an adjacent chalice displayed on the same gallery. While the foot of the chalice rests on the stomach of the wearer, the bowl quit literally “cups” her breasts — a typical JPG provocation.
Given the chalice’s role in celebrating the Eucharist and containing the consecrated wine believed to be transformed into the blood of Christ during Mass, this garment’s placement in The Cloisters all the more incendiary.
Photographed at the Met Cloisters. Heavenly Bodies: Fashion and the Catholic Imagination, is on View Through October 8th, 2018 at both the Metropolitan Museum of Art (the Fifth Avenue and Cloisters Locations) in NYC.
Red Alert (2007): Three-channel digital video, color, sound, three 30-inch flat-screen monitors, three Apple Mac minis, mounting system and connecting hardware (All Photos By Gail)
Despite their appearance as static images, these three screen’s all display a video of frame after frame of the color red played on a loop. Red Alert (2007) was inspired by the Russian Constructivist painter Alexander Rodchenko’s Pure Red Color, Pure Yellow Color, Pure Blue Color (1921), a work that consists of monochromes paintings in each of the three primary colors.
Like Rodchenko, Hito Stereyl wanted to push her medium — in this case, video — to its most simplified, reduced form. her focus here on the color Red is a reference to both the highest level of the now-discontinued, color-coded terror threat system that was implemented in the United States in the aftermath of 9/11, as well as red light’s connotations as signaling something seedy and pornographic.
Photographed in the Whitney Museum of American Art.
Artist Tim Hawkinson explores the fourth dimension with his 2007 Gimbled Klein Basket, which creates an analog rendering of an impossible object. With a porous, gridded bamboo structure, Hawkins then recreated the Klein Bottle and suspended it from the ceiling like a Calder mobile, envisioning an object which is at once knowable, and of another dimension. This video was created at the Pace Gallery on W. 25th Street in the Chelsea Gallery District, as part of the Eureka exhibit, which has now closed.
Another One Bites The Dust: Me with Kevin Dubrow, Frankie Banali and Donnie Vie, Summer 2001
Okay, seriously, I’m wondering if it is some kind of cosmic ’80s Metal joke that both Ricky Parent of ENuff Z’Nuff and Kevin Dubrow of Quiet Riot have passed away within one month of each other. As a tribute to Kevin, who died on November 25th, 2007 of a drug overdose, I’ve decided to re-run my review of the re-release of Quiet Riot’s immortal, genre-defining 1983 album, Metal Health. Read on and be enlightened.
(Originally published on Ink19.com, Fall 2001)
Quiet Riot Metal Health (Portrait/Epic/Legacy)
I’ve got a story for you about Quiet Riot.
On a gorgeous summer day this past July, I spent about eight hours hanging out at this big outdoor 80’s metal revival arena rock concert where Poison, Warrant, Quiet Riot and Enuff Z’Nuff were the featured bands. Now, everybody knows I’m a total idiot for that kind of music and, being a journalist, I’ve become pretty good pals with Poison’s drummer Rikki Rockett, and Warrant’s drummer, Mike Fasano. Thus I found myself, Ms. Headbanger’s Ball of 2001, back stage with an All Access Pass. There was no question that having the run of an arena’s back stage area would prove to be a curious thing, but I digress. When I was walking around unsupervised, I met Quiet Riot’s front man, the infamous Kevin Dubrow, when he accidentally caught me checking out his ass. Kevin is amazing-looking up close and has transformed himself from the scrawny, balding speed freak you remember from those 80s Quiet Riot videos into this full-on rock Adonis with a killer six pack and arms to die for. He smells really good too. I felt a little giddy meeting him because – I mean, I’m a fan and everything – but I didn’t expect him to be so handsome. Hair weave or no hair weave, the guy looks 100% better than he did when he was in his 20’s. I’d do it.
Anyway, Portrait Records re-released Quiet Riot’s best album, the multi-platinum selling Metal Health, last fall, but it took me awhile to get around to reviewing it. Sorry.
When I think of Quiet Riot, their venerated cover of Slade’s “Cum On Feel the Noize” leaps to mind immediately. I just can’t help but sing along.
“Cum on feel the noize/Girls rock your boys/We’ll get wild wild wild/Wild wild wild…” lather, rinse, repeat.
Talk about inspired lyrics! How can anyone who was ever young and in love not worship that song? Carlos Cavazo’s guitar solo on the bridge has got to be right up there with anything Eddie Van Halen ever laid down on tape and I’d even put it up against the solo from “Wait” by White Lion!
But Quiet Riot was always about so much more than just big guitar noise and epic macho posturing. I mean, Metal Health, was the first metal album to reach #1 on the Billboard charts! And this was back in the 80’s when the charts were actually an indication of music being any good. Quiet Riot rocked, and they still do.
My favorite Quiet Riot song is “Slick Black Cadillac,” which is from way back when Randy Rhodes (RIP) was in the band. This song was originally recorded for an album that was only released in Japan, but the band loved it so much that they re-recorded it for Metal Health – and thank God for that, because the song just rocks hard enough to crack skulls wide open. I love the lyrics, which are so simple, but paint such a rich picture: “Driving in a slick, black Cadillac/It’s got solid gold hubcaps/It makes me feel like a King/I only need one thing/and that’s a Slick Black Cadillac.” It’s great use of language, where Kevin is as involved in the physical sound of the words as he is in telling the story. No shit — here’s a song about a big black car that sticks with you. A live version of “Slick Black Cadillac” is included here as a bonus track. I could listen to it again and again.
Hearing Quiet Riot’s hard-driving, melodic, anthemic, life-affirming, joyous, crazy party rock amid all the shitty false metal and mind-numbing idiot rock that passes for pop music these days is like oxygen in a vacuum. Metal Health is a sentimental journey connecting the attributes of commercial rock with the sonic muscle of heavy metal, which is what catapulted LA Sunset Strip glam metal to the top of the charts in the first place. This album is perfect. Go out and buy a copy right now.
October 20, 2007 FRANCE – Ministry’s bassist Paul Raven was found dead today in a private home in a small French village on the Swiss border. Initial reports indicate Raven’s passing was due to a heart attack. Raven (known also for his work with Killing Joke, Prong) was in Geneva working with French recording artists Treponem Pal on their new release, with Marco Neves, Ted Parsons (Prong) and members of The Young Gods.
Born in Wolverhampton UK on January 16, 1961, Paul Vincent Raven established himself with his work in the seminal post-punk/industrial group Killing Joke when, in 1982 he replaced the original bassist for the band, recording and touring with the group throughout its most commercially successful period, performing on Fire Dances, Night Time and Brighter than a Thousand Suns. Throughout his extensive career, Raven participated in other collaborations including Prong, Murder, Inc., Pigface, Godflesh.
Most recently, Raven was nominated for a 2006 Grammy for Best Metal Performance for his work with Ministry’s Al Jourgensen, with whom he had begun working with in late 2005 on the 13th Planet release Rio Grande Blood. After a 2006 World Tour with Ministry, Raven helped Jourgensen and Prong’s Tommy Victor pen the September 18, 2006 Ministry release The Last Sucker, Ministry’s final studio release.
States Jourgensen: “I am in total shock. The world of music is a sadder, emptier place. Not only was Raven an extraordinary talent, but one of my closest dearest friends. Our condolences and prayers go to his immediate family. He will be truly missed by artists, musicians and his fans the world over.
The one consolation is knowing Raven’s already hooked up with the right people and started a new project in the After Life. God’s speed, Raven. Rest In Peace, you fucking pirate.”
Raven’s newest project, Mob Research, featuring members of Warrior Soul and The Mission UK, and schedule for release on 13th Planet Records in 2008, was in the final mixing and mastering phases at the time of Raven’s sudden and unexpected passing. A memorial dedicated to the Life and Art of Paul Raven can be found at www.thirteenthplanet.com.