Limited edition sculpture. Designed for Hip-Hop duo Madlib and Freddie Gibbs.
Includes Zebra Mask, 2 Blunts, 2 Pairs of Glasses and Gold Zebra Chain.
Designed by Steven Harrington & Jeff Jank / Produced by Toyqube.
Polystone and Paint.
Edition of 200 pieces, 2020.
Tweet
Guy Yanai’s paintings are characterized by bold colors, simplified shapes, and a flattened depth of field. In his work, the banal is reduced to geometric segments in a stripping away of references to the tangible world in favor of a visual experience that is more akin to digital imagery—using Google Street view as a reference for a landscape for example. He often chooses everyday objects and spaces as his subjects, flattening and abstracting them in a way that seems removed and objective. Yanai has cited numerous sources of inspiration—from old, modern, and contemporary masters to digital imagery, television and advertisements—and his simplified representations may serve as a way to condense and organize the multitude of data we receive in reference to any person, place, or thing into concise representations with tight compositions.
Opposite – Diana, Princess of Wales, 2020
Exhibition runs through to August 9th, 2020
Praz-Delavallade
5 rue des Haudriettes
75003 Paris
France
Magalie Guérin writes:
‘Abstraction seems related to memory somehow; a felt memory as opposed to an image memory perhaps. […] How does abstraction relate to time?’ Answer: through repetition. These works ‘started as twins but ended as distant cousins. Still, same family’. She continues, elsewhere, as follows: ‘In my latest body of work, I’m doing something somewhat similar because I’m repeating marks across multiple canvases. I’ll be working on, let’s say, four paintings simultaneously and doing the exact same painterly mark on all of them.’ Auto-plagiarism, but with a difference. What should we call this? Names and titles are difficult – too abstract. To un-title (be un-titled, un-entitled) is to see ‘properly’, or rather to be seen in its own seeing. So what do we call this? ‘Commensalism’? ‘Chain-painting’? Why not ‘entanglement’ (too trendy?); ‘reciprocal determination’ (too retro?); ‘interpenetration’ (toxic?); or ‘inter-pictures’, ‘chiasmic pictures’, resonance, symbiosis, endosmosis…?
Opposite – Untitled (res 7.1), 2020
Exhibition runs through to August 9th, 2020
Amanda Wilkinson
1st Floor, 18 Brewer Street
W1F 0SH
London
Instantly recognizable! The Tiffany Blue packaging and bags have been recreated in Italian calfskin.
The new bags arrive with magnetic fastenings, a small logo on the front, and come in two different sizes. The first is a compact 7-inch long by 8.5-inch high by 4-inch wide piece with a detachable shoulder strap, meanwhile the second, larger bag comes in at 15 inches long by 11 inches high by 7 inches wide.
Tweet
For her follow-up full-length to 2018’s Anticlines, Dalt relinquishes control of the corporeal to reach imagination’s outer realm. Where Anticlines framed the physical processes of matter changing state, No era sólida observes a transition in Dalt herself through the emergence of Lia: an apparition, or second self, of the artist as pure gesture and mimetic transgression.
Release Date – September 11, 2020 (digital & physical)
TweetVan Vechten moved to New York City from Chicago in 1906 to pursue a writing career (he would become the first American critic of modern dance while contributing to the New York Times) before dedicating himself to photography.
Van Vechten had a lifelong interest in African American culture and was committed to promoting black artists. In the early 1920s, Van Vechten sought out NAACP leader Walter White, who would introduce him to his colleague James Weldon Johnson. Johnson in turn facilitated introductions between Van Vechten and countless key figures in the rising Harlem Renaissance. Van Vechten became a familiar sight in predominantly black spaces, attending formal NAACP banquets as well as Harlem nightclubs and speakeasies.
Opposite – Diahann Carroll in House of Flowers, 1955
Exhibition runs through to August 30th, 2020
Keith de Lellis Gallery
41 East 57th Street
New York
NY 10022
