Stussy and Schott NYC have teamed up once again, this time to drop a luxurious Duffle coat.
Launching at Stussy Japan, the coat features premium wool outers and sleeves, while the inside front and back are made from 100 percent polyester in a mock-shearling style.
www.stussy.co.uk
www.schottnyc.com
New Balance’s RunIQ fitness smart watch is a GPS tracker and a heart monitor, the RunIQ is waterproof for up to 50 meters of five atmospheres. Another feature is the “marathon distance” battery, which can support up to 24 hours of battery life with typical use of up to five hours of continuous life in GPS and heart rate monitoring mode.
The watch has 512MB of RAM plus 4GB of built-in storage, while a crystal clear 1.39-inch AMOLED display is also incorporated. Those with Bluetooth headphones can use that storage to play tracks via Google Play Music.
TweetBoth pioneers of underground and alternative comics, Kominsky-Crumb and Crumb have created a groundbreaking portrait of their shared lives and creative collaborations over the past four decades. In their ongoing “Aline & Bob” comics, the two artists have rendered their innermost thoughts, fears, and fantasies alongside the day-to-day realities of family life in the twentieth and twenty-first centuries, each in their own distinctive style. The exhibition, a version of which was previously on view at the Cartoonmuseum Basel, will present an extensive selection of collaborative ink drawings from throughout the run of “Aline & Bob,” as well as solo works by both artists in a variety of media.
By the time Kominsky-Crumb and Crumb met in 1972, they had each established themselves as foremost figures in the underground comics scene in San Francisco: Kominsky-Crumb with her autobiographical comics that appeared in the influential all-female anthology Wimmen’s Comix, and Crumb with his genre-defining comic strips of the 1960s and early 1970s like Fritz the Cat, Mr. Natural, and Keep on Truckin’. Indeed, Crumb had, almost clairvoyantly, predicted their union: they were introduced by mutual friends who were inspired by Aline’s resemblance to a Crumb character named “Honeybunch Kaminski.” Not long after they met the two began to draw themselves and each other in joint strips and these collaborative experiments soon became a central creative endeavor for the couple, the results of which were first published in 1974 as Aline and Bob’s Dirty Laundry Comics.
Opposite – Poster for the exhibition
Exhibition runs through to February 18th, 2017
David Zwirner
519, 525 & 533 West 19th Street
New York
NY 10011
Bringing a touch of that warmth to London’s midwinter climate, Sunny Side Up will present an extensive selection of the artist’s iconic Homage to the Square paintings, begun in 1950 and elaborated on until his death in 1976. Exploring a variety of chromatic and perceptual effects, the Homage to the Square paintings serve as a sustained, serial investigation into rhythm, mood, and spatial movement within a carefully configured nested square format. By employing a variety of yellow tones in different combinations, Albers was able to play with perception and produce illusions of translucency. Naples yellow, goldenrod, mustard, maize, saffron and more encircle and abut one another in these works, seeming at times to combine or overlap, defying the logic of their rational and systematic application directly from the tube in single, unmixed layers. Challenging the geometrical regularity of the compositions, the distinct color fields often appear to the eye to expand, dissolving the boundaries between them. Yellow also serves as a perfect conduit for Albers’s brilliant white grounds, visible at the edge of each work, which shine through and lend a distinct luminosity to these paintings.
Opposite – Study for Homage to the Square: 2 Grays between 2 Yellows, 1961
Exhibition runs through to March 10th, 2017
David Zwirner
24 Grafton Street
London
W1S 4EZ
For her upcoming show at Gypsum, Lutfi presents a collection of more than 60 new works that she calls her “Dawn Portraits”. Carving out a quiet meditative time in her early morning to pause and reflect, she paints sculptural faces using gouache paint on Chinese gold leaf paper. Other than the recollection of her own features or her mother’s face, Lutfi works from memory. The tightly cropped portraits, whether frontal or in profile, are asymmetrical and often androgynous. Delicate pieces of jewelry such earrings or necklaces adorn the ears and neck of these women – softening the severity of their features. In a sense, “Dawn Portraits” carries on Lutfi’s exploration of gender and women relations in a patriarchal society and her representations of femininity rest outside conventional modes.
Opposite – Untitled, 2016
Exhibition runs through to February 6th, 2017
Gypsum Gallery
5 Ibrahim Naguib Street, Apt 2
Garden City
Cairo
Egypt
