Creative Sugar Spring 2014 - Artist Interviews

CREATIVE SUGAR M A R C H 2014 - A N E M E R G I N G A R T I S T M A G A Z I N E

THE FALL ISSUE

COVER PHOTO OF ARTIST SHAUN ELLISON

BY GRAHAM COPPIN F E AT U R E O N PA G E 13

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Creative Sugar Issue 8 Editor-in-Chief Sabrina Scott Copy Editor Marilyn Recht Stylists Amber Hards (assistant) Harriet De Winton Rebecca Wood (assisstant) White Pak Photographers Alex Traylen Amanda Thomas Jason Homa Joseph Gallo Writers Adam Devlin Beverly Cossia Christina Donahue Dena Ferreira Ely Sepulveda Ethan Boisvert Ignacio Alexanders Morgan Clarke Samantha Weiss Dress Designer Molly Mishi May Makeup Artists Inma Azorin Grace Kinsley (assistant) White Pak Hair Inma Azorin Rebecca Simpson

FROM THE EDITOR This could be considered the interview issue. We’ve found a group of artists whose stories will hopefully peak your interest and inspire you. Be sure to submit your art story and if you have that friend who is always working on following their artistic vision, send them our way. That ’s what we want to feature, that ’s what we are all about.

Enjoy!

EDITOR-IN-CHIEF

Art Direction Sabrina Scott

Contact: info@creativesugarmagazine.net web: creativesugarmagazine.net facebook.com/creativesugarmagazine © 2014 Creative Sugar Magazine All rights to art, words, photos, design and copyrights are the property of the Artist.

All work in this publication may not be used without the Artist’s consent.

New York, New York

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ART

RACHEL COHEN

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BY IGNACIO ALEXANDERS

NICASIO FERNANDEZ 10

BY CHRISTINA DONAHUE

SHAUN ELLISON 13

BY ETHAN BOISVERT

THE BEAUTIFUL AND THE DAMNED

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FA S H I O N E D I T O R I A L

MARISSA NADLER 22

BY ADAM DEVLIN

BADPUSS 24

BY DENA FERREIRA

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ULTUR

REBAROQUE 30

BY SAMANTHA WEISS

L O N D O N C A L L I N G 34 FA S H I O N E D I T O R I A L

J U L I E VA N S U C H 38 B Y E LY S E P U LV E D A

TA K E O N F I L M 40

BY JOSEPH GALLO

T O M M Y T 46

BY MORGAN CLARKE

P E T E R S H O U K R Y 50 B Y B E V E R LY C O S S I A

S H O W D AT E S 52

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Rachel Cohen: Dancing with chaos

By Ignacio Alexanders Any day in Brooklyn is a good day for art. Whether one is in need of landscape inspiration on Bay Ridge’s Shore Road or something more abstract and bright on Bedford Avenue in Williamsburg, art in Brooklyn is not hard to find. Every now and then one has the opportunity to experience the art and converse with the artist. We get to ask questions like, “Where did the inspiration for this line, this color, this flower, come from?”

We spoke with Brooklyn-based artist Rachel Cohen in a local Clinton Hill coffee shop. As she drank her coffee she spoke about her attempts to make sense of life’s chaos through art.

Why did you become an artist?

RC: I’ve have always been an artist. It all began in kindergarten. I drew a full horse scene and looking at the piece now I think to myself that’s really good for a kid. The talent is almost primal, it’s always been there. In college during my undergrad I studied English literature, and although I created a lot of work I never took an art class. I never thought of getting involved in the school’s Art program.

Not having thought about art during your undergraduate studies, how did you end up becoming Rachel Cohen the artist of such energetic work?

RC: In 2008, when everything began going downhill with our economy, I found myself working for a post-production company that made visual effects

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for commercials. When that industry began to get pummelled because everyone started pulling their advertising funds due to the recession, I realized that particular job was not going anywhere for me. During that time I had a moment when I asked myself “What am I going to do?” Having worked a ton of random jobs, everything from fashion to executive assistant, I tried everything and in doing so I became extremely frustrated with life. Feeling overwhelmed, I started painting a lot during that time and that’s when it finally came to me and I said to myself “Wait a second this is what I do, painting! This is what I want to do.” I thought of going for an MFA but realizing that art was the one thing that has always kept me together I weighed it against a Master’s in art therapy but the economy being as bad as it was, I could not pull the trigger on an MFA. I decided to earn my Master’s in creative art therapy from the Pratt Institution.

What brought you into art therapy?

RC: I became an art therapist mainly because I felt that art saved me, I believe that art kept me going. Painting and the process of creation helped especially in my teens, my twenties and post college life. My art helped me stick out and deal with the chaos of life. A Master’s degree in creative art therapy would allow me to have a day job attached to creative expression and most importantly it would allow me to help people.

“ I became an art therapist mainly because I felt that art saved me, I believe that art kept me going. “

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IMAGES OF WORK COURTESY OF RACHEL COHEN

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During that time around our city I noticed that everywhere I looked things were getting really dark.

As an art therapist I am able to pursue my art but most important it allows me to give back.

What’s your process before you begin to work on a piece?

chel the artist are one person. I am the artist Rachel Cohen the person who keeps painting even if all I want to do at times is cry in a corner.

What do you hope people get from your work?

RC: It always begins the same, I have my rituals and it’s always the same process. I make a playlist, which I spend a good amount of time organizing.

The music must be perfect before I begin to work.

Then, I grab my American Apparel fanny pack, put my headphones on because I can’t paint without them, sometimes I dance and I begin.

RC: I hope that people will be able to connect with my work in a way beyond what is presented on my canvas. Even if what they see in the inks and what the text solicits from them is different for every person, my biggest hope is that my work will open all the nuances that are here in our world. I want them to connect with the world even if there is no plan because sometimes is all about the moment.

I start with an ink layer. I put the ink down on the canvas and I let it react, and it reacts differently every time based on -- the slope of the floor even how heavy I gesso it. That becomes a source of the catalyst to what will come next. I let that dry, let that happen and I come back usually the next day. I look and see what’s there, I analyze the chaos. Chaos only because I have no say on what the reaction of the ink looks like and that chaos is my starting point.

Rachel Cohen’s dynamic work is sure to make anyone’s heart skip more than a few beats. From her complementary colors to her choice of text, the work is well developed not only in skill but in the exploration of the deep dark seas of the human soul. The viewer embarks on a journey guided by a compass with a pointer that aligns itself with the magnetic field of the human heart.

Rachel Cohen’s art allows its viewer to find hope in chaos.

Where does the inspiration for your work come from?

For more information or to contact Rachel Cohen, Please visit www.rachelcohenart.com

RC: I am inspired quite plainly by life and the day to day of life. A lot of my work comes from working out the frustrations of daily life. My work is the tension between control and lack of control over chaos. It mimics what the experiences of life are for me. Work frustration, relationship frustrations, and train frustration, it’s inspired by the idea of being out of control in a place like New York. As a young person and young artist there’s not a lot of support out there. I am a big inspiration for my work and everything I come across.

My job as an art therapist also plays a part in the inspiration of my work.

Is Rachel Cohen the person any different from Rachel Cohen the artist?

RC: I thought about this question a lot and no, which is really cool. My art is about my personal experiences; moreover my world revolves around the art studio, art galleries’ environment. My day job is to help other people be creative and in doing so I have realized Rachel the person and Ra-

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nicasio fernandez: wonky genderful By christina donahue (TOP) PORTRAIT OF MY MOTHER, THIS BISH OIL, PLASTIC AND CAULK ON C A N VA S 32” X 40” ( B E L O W ) B E A C H , O N A N I C E D AY O I L O N C A N VA S 46” X 34”

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O

ne look at Nicasio Fernandez’s piece and the viewer is instantly transported to a world of color and thought-provoking imagery.

The various mediums that make up his numerous pieces make his artwork a joy ride for the senses. His pieces convey a nostalgic undertone; viewers might find themselves chuckling to themselves, reminded of past experiences that the artwork helps bring to the surface. All of his pieces are accompanied by quirky titles, such as “Portrait of My Mother, This Bish” or “Lonely Drinker at the Wrong Address.” His whimsical pairing of cartoonlike characters with adult themes of sex and politics, such as childhood cartoon-like figures with “naughty” imagery of female and male genitalia, allows viewers to see these topics in a new light. I was fortunate enough to pick the mind of the man behind these intriguing works of art and ask him some questions.

When did your love of art begin?

My love for art began when I was very young, probably around 2 or so. When my brain could kind of function. I would watch Bugs Bunny everyday and just get mesmerized by the humor.

Can you describe your style of art?

My style of work involves wonky “genderful” characters displayed in a child-like manner clashing with adulthood aspects such as sex, money, mockery and politics. The result of the work will end up in a bawdy perspective.

What do you enjoy most about creating art pieces?

I just enjoy working and being productive.

Putting paint on any material is an indescribable feeling—as well as letting my subconscious actually do what it wants to do.

Well I never work on one piece, I have multiple works in process. This helps create the next piece without thinking. For the most part it’s my thoughts constantly being ahead of me, creating the next thing for me to do while working or doing anything else.

What do you hope viewers of your art take away from viewing your pieces?

For now, I like the viewer to be engaged with some laughs and their own personal thoughts.

Perhaps something from their childhood that the paintings bring out they may have forgotten.

That one terrible one night stand or their favorite cartoon.

I’ve noticed you use different mediums for your art (video, sculptures, canvas). Do you feel it is important to use many different mediums? Are there different messages you are trying to put across?

I try to incorporate mixed elements in my work such as cat hair, glitter and rhinestones, just to name a few, because they remind of my childhood. (Plus there is no escape from cat hair.) I don’t think it’s important to use mixed media unless you think it’s best for you. I just to try access what I have around me.

Can you describe your artist process? How do you begin to create your next art piece?

My process is surrounded with chance and control connecting simultaneously. Doing lots of research but having little thought for what’s going on. The results boil down to me making what I want to make.

To learn more about Nicasio Fernandez’s artwork visit his website at: www.nicasiofernandez.com

What drives you to create the pieces that you create?

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“painting came as an evolution while searching for truth.”

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PHOTO BY GRAHAM COPPIN

shaun ellison: unearthing the layers By ethan boisvert

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hile visiting galleries in Chelsea, I happened to walk into Shaun Ellison’s opening exhibition “Yankee Zulu” at the Anna Zorina Gallery on 533 West 23rd St. I was very impressed by the bold colors, intelligence, and strong, unforced execution of the work. The show was packed with guests who were very celebratory and engaged with the work.

I revisited the show multiple times and found the paintings to become more revealing each time. In short, I would define them as mostly figurative, influenced by the modernist era, often fusing different methods of composition, and experimental forms of media application.

One of my favorites was You and I (on Yellow) which consists of a nude female and clothed male sitting in chairs facing the viewer. There is a wonderful hierarchy of color that is somewhat unpredictable and accentuated through the use of various brush strokes and layering of joint compound. This creates a set of horizontal lines that move across the canvas, adding a dimension reminiscent of painted objects. The forms do not follow the horizontal lines but rather collide or, better yet, sweep over them.

There is an interesting scratching happening in the male’s shirt that not only gives character in its expression, but also works as a mimicking device to the other horizontals in the piece, thus bringing in an unexpected continuity.

Overall, the show was very coherent and each piece was unique. A haunting quality encompasses Ellison’s work; there seems to be a soul within each piece, as if at any moment they could come to life. Most photorealist painters desire this effect but almost never get it. I had to find out more.

Africa, I had to ask, “What does that mean to you and your work?”

Shaun explained, “My approach to painting is not necessarily just figurative nor is it South African–specific. I am inspired by many things, such as modernist painting, meditation, the accident, the language of feeling as opposed to intellect or academic painting. But to some extent I like bringing in some sort of context.

The figure for me has multiple uses. It engages the viewer first, offering a certain viewpoint as it interacts with its interior and it also engages the viewer with often a certain meditative quality.”

I dug deeper. “I am interested more about the modernism and method. I see hints of many things, Matisse, Gauguin, Milton Avery, even a neo-expressionism from the ‘80s.”

Shaun explained, “Yes that is all true. I particularly am inspired much by Jean Dubuffet, Chaim Soutine, and Francis Bacon. I am drawn to non-academic visceral work and that is what I create. It’s more about the art than any statement that could be said about it. This type of work you really need to see in order to experience it.”

“So how longhave you been painting?” I asked.

“Well I can give the generic answer, my whole life, but I didn’t get serious till my early 20’s.

Philosophy was my direction before this and painting came as an evolution while searching for truth. I see truth in all of life and want to recreate my experience in a genuine way, so that I do not miss out on the experience that affects me.”

“And this truth you speak of, what exactly do you mean by this?”

I scheduled a visit with Shaun at his Bushwick studio. I first looked over some work and then we began to chat. Since Shaun is from South

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“Well I think our culture has a sinister underbelly to it. There is a certain amount of plasticity, superficiality, even a conditioning not to question things anymore. We are also more removed from reality via technology. I would like to see more people personally connecting and addressing things more directly.”

“So where do you see your work going in the future.”

“I am really interested in painting bigger. There is a whole new challenge to that. I want to paint on the floor more because there is something really natural about that where your whole body becomes a part of the process. It’s different than the stifling effects I feel when on the wall. I want to focus more on the concept of saturating an area with form and then have very large inactivated spaces to balance that. Also I am really into watercolor and like the effect that has. There is a certain layering quality that you can get without having texture, so that is influencing my direction in painting with oil.”

“And your life here in the city?”

“It’s been good so far. There were times I thought about leaving because it can be such a grind. But I am really enjoying my time more than ever here in Bushwick. This is a cool town. It has a certain kind of humbleness about it, which you don’t necessarily see in the middle of Manhattan. I’d like to see more connection in the art scene here. Many artists are so often alone in their studio.”

We parted ways and I was left to reflect not only on the paintings, but the light he shines on his practice with his words. Shaun is making genuine work that is part of the antithesis to this cultural degeneration. It is not slick, nor designed as a plastic trophy to be manufactured in some huge factory for uber-rich investors only interested in the market. It does not pretend to be something it isn’t, which is a major problem with academic art of today. Whereas many artists are out there trying to make philosophy to back up their work, Shaun, who studied it, refuses to use it as his excuse or crutch to justify the work. It’s made by hand with heart and it stands on its own, unique and specific to him and strongly engaging the viewer. This is a young artist who has a long future to make many more paintings and be involved in projects that have not even been conceived of yet.

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( A B O V E ) Y O U A N D I ( O N Y E L LO W ), 2013, M I X E D M E D I A O N C A N VA S , 60’ X 48” ( T O P L E F T ) S H E J U S T A P P E A R E D, 2013, M I X E D M E D I A O N C A N VA S , 27” X 21” ( B O T T O M L E F T ) M U S L I M M A N 2, 2013, WAT E R C O L O R A N D I N D I A I N K O N PA P E R , 30” X 22”

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THE

Beautiful

&

THE DAMNED

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P H O T O G R A P H E R :

AMANDA THOMAS

D R E S S D E S I G N E R :

M O L LY M I S H I M AY

S T Y L I S T:

HARRIET DE WINTON

S T Y L I S T A S S I S TA N T S :

AMBER HARDS

REBECCA WOOD

M A K E U P A R T I S T:

INMA AZORIN

M A K E U P A S S I S TA N T S : G R A C E K I N G S L E Y H A I R S T Y L I S T S :

INMA AZORIN

REBECCA SIMPSON

M O D E L S :

M O L LY L E W I S - S M I T H

ARABELLA LEWIS-SMITH

ROB NORBURY

E M I LY B R E E Z E

BECKY MERCER

DAM COOMBS

OUIS LEWIS-SMITH

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marissa nadler Feb 8 at glasslands gallery By adam devlin

“...she challenges you to find

comfort in tension...”

PHOTO BY ADAM DEVLIN

Marissa Nadler played to a swelling crowd February 8th at Glasslands in Brooklyn, New York. Glasslands is located at 289 Kent Ave, a former community art space gone fully reputable venue, with its own legacy and style. A bevy of PVC tube lights speckles its ceiling, filling the void once occupied by iconic “light cloud” installations. Small and cozy Glasslands hosts a small floor space with a bar and a modest balcony against the leftmost wall upon entering, a railing made of spare metal and wood that fills out the space’s ersatz-ramshackle design.

An enduring veteran on the Kent Ave venue strip, it thrives in the wake of 285 Kent, its unaffiliated neighbor venue which closed for good a few weeks ago. Glasslands has gone legitimate and pressworthy, with an attractive, well-designed web page and even rotating drink specials.

Opening for Nadler was Zachary Cale, a mostly country rock group, and Amen Dunes a krautrockaffected psych rock band. Cale opened up the crowd with some easy banter, joking about the weather and exchanging awkward smiles with the

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other members of his band. Strummed acoustic guitar and more than one carefully labored-over synthesizer made for hybrid country balladry that was far harder on the “country” than many other groups in the genre, with a unique style that explains Cale’s hard-earned critical praise.

The set dulled in the final minutes along with the audience’s waning interest—an embarrassing but unavoidable fact of being an opening band— but not enough to kill the mood completely.

After Zachary finished up and cleared the stage, Amen Dunes shifted the perspective of the night to something more unpretentious and fluid.

At first, it was hard to tell whether or not they had started; the assorted tune-ups and sound checks gradually settled into an inculcated groove, with drummer Parker Kindred beating out soft rhythms in an odd illogical heartbeat.

Damon McMahon stuck to loose riffs, gliding through a suite of songs without moving much and proudly displaying his handmade Aphex Twin t-shirt, while Jordi Wheeler struck his best

Bryter Layter pose and messed with effects pedals. I’ve seen Amen Dunes twice before and always thought they needed to loosen up on stage, and I think this performance rewarded that opinion. Hazy and inspiring, they showcased some of the finest true psychedelia I’d seen in a while; not just “druggy” but deeply compatible and cooperative. It was as if they had leaped the impossible hurdle linking casual late night practices with the strictness of a stage show.

Once they were finished, they dispersed with little fanfare.

Nadler’s audience draw overwhelmed the comparatively small venue. As she set up the room filled to capacity, a mass of fans scrutinized her every move as she configured cables and fell victim to feedback problems, while bandmates Nina Violet and Janel Leppin attempted damage control. Stumbling back and forth through the backstage curtains, she eventually reappeared alone with a guitar. After a quick apology— the first of many—she began a near-flawless rendition of “Holiday In[n],” one of many touchingly simple solo pieces she would perform from her new record.

Marissa Nadler is a consummate professional in performance, and carries a remarkable stage presence. Foolhardy and genuine between songs, she apologized multiple times for lacking synthesizer accompaniment, despite playing almost entirely new material which a fair amount of the audience had probably not yet heard. Yet it was shared serendipity among everyone in attendance; songs like “Drive” and “Dead City Emily” jumped out on first chorus and seemed immediately familiar and fond.

And as the glassy chords and brilliant timbres of cello and violin collided raucously on “Anyone Else,” the room swelled with stunning tension.

Marissa’s beautiful songwriting carries a bleak, blackly gorgeous edge to it, like the shattered remnants of a once hopeful folk singer struck with some incalculable tragedy. In most other ways her music is conventionally folksy and aesthetic, but her voice commands a darkness that, either practiced or real, is deeply moving.

about every song Nadler performed, making a softer but more organic form of Marissa’s material. Not as ethereal as Nadler might have intended, the cello’s inclusion was nonetheless a fine substitute, a chilling timbre, and sparse enough not to come off as overwrought.

Instilled with Nadler’s sense of space and her penchant for building fractured worlds— not dissimilar to traditional folk but made slightly askew—a straight approach to folk instrumentation still worked in her favor.

Her distinctive voice carries this direction, particularly the way she waltzes just outside of a waltz, or upsets the balance in a ballad. To follow the familiar changes would be too easy; she challenges you to find comfort in tension, to go through it all and witness the bleak sadness and come out the other side inured and calm.

From that you will never be able to decide: was this a pleasant experience or a harrowing one? She makes sense of that space, existing in it by choice and borne of a lasting artistic deliberation. It was a wonderful showing on the crowd’s part, and a wonderful performance.

Nadler closed out with an encore of older material, then a quick goodbye and a smile.

Marissa Nadler’s newest record, July, is out now on Sacred Bones Records.

Nadler’s bandmates also forged a name for themselves, with Nina Violet’s steel pedal proving an especially powerful counterpart to Janel Leppin’s studious cello work. In lieu of synthesizer parts, Leppin filled in on cello for

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badpuss: a popumentary By dena ferreira

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B

adPuss: A Popumentary undresses female stardom to reveal a hypersexualized culture of young, misguided girls.

A story that in many ways parallels today’s Hollywood headlines, the film is about BadPuss, an all-girl band whose rise thrusts them into a hedonistic, raucous culture, and eventually a painful fall from fame.

The film reflects pop stardom through the lens of a funhouse mirror. Lara Reares, the creator of BadPuss, has high hopes of bringing the band back together for a comeback tour, but this is not as easy as she’d thought.

Years have passed, resentments have festered and dark secrets have come to light. Documenting the revival of this threesome is a desperate reporter willing to follow around bandmates Lara, Kassie, and Ro just two days before the great comeback tour, “Body Shots and Hot Regrets,” kicks off.

The film is a ride of cosmic proportions sans the protective gear, depicting the media’s image of lascivious spoiled pop stars. It propels itself into whimsical stardust then dives deep down into hell fire through the unfortunate and often hilarious calamities of three tragically beautiful women trying to survive in the chaos and debauchery of contemporary pop culture. It’s not a tale of caution, but rather a “grand fantastical tragedy,” says writer/director, Emily Wiest. “If there is a message, it’s a byproduct of the struggle.”

Wiest weaves a strong, dark humor into the depiction of a fallen all-female pop band.

Their tragedy is our humor, much like what Whoopi Goldberg did in her Surfer Girl standup. Wiest takes serious subject matter and presents it in a way that is at once hilarious and sexy--until the harsh reality of partying to abandon, fornicating recklessly and resorting to violence renders you speechless. The laughter continues even as you realize the deeper, more meaningful story beneath the plot.

Britney Spears in a state of panic shaving her head had everyone glued to the news. Miley Cyrus swinging from a wrecking ball naked and suggesting lewd sex on this year’s MTV Music Awards got lots of attention and sold millions of albums. We laugh at their tragedy or we rally behind them blindly. But really, what is funny about a young girl in a state of panic who makes erratic decisions because she is desperately trying to find her own voice, or breathe, or break out?

The daughter of Oscar-winning actor Dianne Wiest, Emily grew up surrounded by raconteurs. I asked her at what point in her life she knew she wanted to act, write and direct.

“I’m a storyteller,” she said. “The first book I ever wrote was called “Long Knowits,” and I was three. Sadly it has yet to be published. I always knew I wanted to be a storyteller and I’m still refining what that means. I grew up backstage in old theaters. If you spend a summer crouched in the dark listening to Oedipus and Salome over and over, and you hear those heightened moments, you know the extremes

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of the ups and the downs—she’s dancing, he’s gouged his eyes out again—it’s bound to have a bit of an impact, it becomes a part of you.”

Actress Sydney Lemmon’s grandfather is Jack Lemmon. Asia Ashford, another Popumentary star, is the spawn of music royalty Ashford and Simpson. The third actress, Hannah Sorenson comes from the plains of North Dakota and her mother is an artist.

“I think the biggest gift we all share is that our parents understand the need we have to create.

It frees you up, that kind of support.”

The cast raised the money themselves on kickstarter.com; no parent pulled favors, wrote scripts, or even acted in the film. Together they raised an impressive $28,000 — $3,000 more than their goal — from 190 backers. The “BadPuss” website features some great video of the team asking for donations, and also features set design video and an interview with Jon Barber Gutwillig of Disco Biscuits, the man behind the music.

I interviewed Wiest, Lemmon and Sorenson while crammed in the kitchen of their photographer friend’s apartment as they got their hair and makeup done for the day’s shoot. Janis Joplin was blasting out of the front room so that Wiest could get into character. Lemmon stretched cat-like on the floor drinking coffee while Sorenson transformed from the girl next door into a magnificent, sparkly, bubble gum pop starlet. The love they have for one another was evident as they reminisced about their summer of filming and first impressions of meeting one another. Each spoke about the struggles of being so new in this business. Their biggest concern seemed to be the lack of work on their resumes and making money — just like any struggling actor from coast to coast.

Wiest and her co-stars Lemmon and Sorenson all talked about the importance of collaboration.

Wiest attributes much of the success of the film to her production team and their belief in the project. If she started to get doubtful or conflict arose, it was the team that kept her focused.

Producer Karli McGuiness had this to say about production: “As a filmmaker friend of ours warned us, ‘A lot of pre-production is putting out fires.’ To that we say, we are fearless fire fighters! We are fearless due, in large part, to the support we have

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“You know, why is something and pure and loving and youn from experienced professionals in the industry who have made themselves an irreplaceable part of this process.”

Wiest adds, “The fearless firefighter is Karli McGuiness, and she lived up to it on a daily basis.”

So how does one go about getting the right ensemble together?

“BadPuss is awesome because people just kind of fell into the project. It started with close friends and then spread as the project grew.

Carrie Keagan signed on through VH1 with Keith Koslov, another of our producers. Our designer Claire Deliso was a college friend from our undergraduate studies in theatre. She’s an absolute powerhouse. We had this fine artist raised in the French countryside designing massive sets and costumes for a rock band, it

onto the upbeat club mix “Ketamine Santa.”

Sydney Lemmon and Hannah Sorenson provided their own vocals, Leah Elizabeth provided mine.

The other contributing musicians include Steve Molitz, The Infinite Wizard (Robin Hood) David C. Butler, Clay Parnell of Brother’s Past, Robert Sahm, Zane “Nominee” Urquhart, Brandon S. Meyer, and Cara Salimando of Novelette.”

Wiest is destined to be a 21st Century writer and star and she is not alone. Each actor in the film does a brilliant job conveying the emotions of a girlie pop star who has begun to lose her shine and is desperately trying to make a comeback .

The tension and conflict between Lara, Ro and Kassie make for great drama and dark humor, but the point is that these lost starlets could benefit from the real-life direction and focus of their creator, Ms. Wiest. ( L - R ) S Y D N E Y L E M M O N , E M I LY W I E S T, HANNAH SORENSON

so child-like ng so sexualized?” was like this perfectly unexpected culmination of perspectives. She made us romantic and sexy without losing the humor. My favorite quote from her (imagined with the slightest French accent): ‘Nipples! We must have more nipples!’”

Each scene is driven by a hard beat mastered

by Jon Barber Gutwillig, who also acted in the film and can be heard on the website. “Yes, the part of DJ BarberShreds was written for him,” says Wiest. “He really got it and loved it and just started composing tunes. He’s a master, because it’s a story that looks back over the careers of a group of musicians so you kind of witness the death of the instrument throughout their musical trajectory…He just transitioned through each phase without batting an eye, writing these hit songs with lyrics meant to fit into the mockupopumentary genre…from the hardcore rock ballad “Chain Me to Your Twin Bed College Boy,” through the gangster “I Ain’t Yo BadPuss,” and

Hannah Sorenson is a pleasure to watch. Her character Kassie is a “walking heart with legs,” says Sorenson. From her big wide-eyed expressions, her tantalizing naiveté and sexy costumes, you cannot take your eyes off her. A great departure from the actress herself, who unlike her character is a grounded woman, a Yale graduate who prides herself on intellect and doesn’t rely on her good looks to get by. About playing Kassie she says: “She’s a sexualized child in this world - which I think was a pleasure to play because it asks some really important questions about our pop culture, media and how women are represented.

You know, why is something so child-like and pure and loving and young so sexualized? And what happens to these people? There is something very distorted about this.”

The film also puts a mirror to the face of the fanatically frenzied young girls who believe these women are demi-gods, destined to be their best friends forever. They cry to them over the Internet, make YouTube videos pledging their devotion to their icons, but when the idol falls, the fanatic falls too.

Sydney Lemmon, who plays Ro in the film (whose character seems a bit hostile on the idea of a resurrection of the band), talked about how she came to play Ro.

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“I was on the road doing a national tour of Romeo and Juliet and Animal Farm and I was in Tennessee when Karli, the producer on the film and also a long-time friend, just wrote to me. The subject line was “Bad Puss” and I thought ‘Oh this is a viral spam…’ but then I read more and thought, ‘okay, tongue and cheek, that’s a good sign, aware of itself, good, mocumentary,’ it was really interesting.”

SYDNEY LEMMON

As Emily and I wind up our day of shooting for the magazine with photographer Jason Homa, who also does all the exquisite stills for the film, she stresses the pleasure of seeing something you envisioned come to life; to see the sets come to life, the characters take their first breath and to have people read your story and get it. Wiest said, “It’s a beautiful thing.”

Before leaving I want to know what Wiest would say to that lonely, frightened girl, wrapped up in the media glitter and pop idolatry crying her eyes out on YouTube or just writing her pain in her closet.

“To her I say, ‘Go outside.’ Live a little. Live the life that BadPuss can’t because they’re so damn busy being that.”

By “that” Ms. Wiest means the young girl drowning in the pop world of eye candy, sex and illusions.

We need to set higher standards for our young girls today; give them access to a more confident, intelligent and independent role model who thinks for herself and doesn’t rely on her sexuality for validation.

Trailer: http://youtu.be/LxKeO-L7Wq8 https://www.facebook.com/ BadPussAPopumentary?notif_t=page_new_likes

ALL STILL PHOTOS

BY JASON HOMA PHOTOGRAPHY

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HANNAH SORENSON

( L - R ) S Y D N E Y L E M M O N , E M I LY W I E S T, H A N N A H S O R E N S O N

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rebaroque:

upcycling the art of sound by samantha weiss

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“Back in the day, your music was like your furniture,” Mikal tells me, shifting back and forth on his chosen perch—the one clear area of his work desk, which is almost the length of his studio in Bushwick. His long legs swing back and forth in his dark jeans as he fidgets with the gray, tweed cap on his head. “I’m trying to bring that back.”

Mikal Hameed is the founder of Re-Baroque, which is part of his desire to combine art and music into something new, artistic, and functional.

His pieces seek the “perfect marriage between art and sound,” which is achieved through patterned canvases with high-quality speakers that connect wirelessly to any Bluetooth device. The meeting of both worlds began as a birthday gift to his partner, but soon was picked up by Anthropologie and other retailers.

As I glance around the studio, Mikal explains the basics of his projects. “I’m dealing mostly with traditional patterns right now,” he states, gesturing behind him to two speaker systems hanging on the white walls of the studio. Both display a simple, yet elegant, argyle print, encapsulated by intricately carved wood frames that have been spray painted to bright blue and baby pink. The table on which he is sitting holds several unframed pieces still in the making, in bright floral colors and other varying patterns. “Those are for a hotel,” he says, proud and excited. “They’ve ordered twenty-four pieces. That’s what I’m trying to branch into right now, more hotels and other larger clients like that.” At the moment, most orders come online from individuals who pick out sizes of frames, then send Mikal the fabric they want their speakers to be displayed in. The rest is up to him, and it usually takes about two or three days for him and his assistant, Fernando, to complete the work.

I ask him whether the type of music that plays through Re-Baroque speakers changes the meaning of the art, but he shakes his head. “The meaning of the art is for the client to enjoy,” he states. “I mean, I did a couple of country flags which would fit better with that country’s music, and I’ve done a jazz series that would work great with jazz music, but other than that, it’s the client.

“I don’t only do speakers, though,” he says, jump-

ing off the table for a moment to survey the large, custom-size speaker system in the center of the studio. “This one is for a barber shop in town. The guy wants his logo on it, but I hope I can convince him not to do it.” I agree with him; the large, black velvet system is contained in a simple black frame, with one speaker painted bright gold to add some flavor. It’s the perfect mix of class and edge. “But the speakers are just specific to Re-Baroque. I’ve done a trumpet into a lamp—a “tamp”—and the keys turn the light on and off and adjust the brightness. And before this speaker was here, there was a snowmobile—I just got back from showing that in Germany.”

He’s also working on a headboard with speakers and lights on either side, for reading at night without having to have a bulky nightstand and lamp beside you, and a dresser that can hide all of the wires in a home (for cable, Wi-Fi, televisions, alarm clocks, or anything else that might be around) and keep them organized without taking up as much space. The entire purpose for Mikal is to make things beautiful and functional at the same time, with a personal touch that his larger competitors can’t reach. “Some people take my idea, but they don’t really do what I do,” he explains. “They’re all about the bottom line, and I’m about personalizing it and making something that really fits in with the rest of your décor.”

He’s also about keeping the marriage between art and music at the forefront of his designs—both of his parents were professional jazz musicians, but he was unable to learn to sing or play an instrument, and so he chose visual art instead. “I searched through the DNA, you know? Instead of creating an entirely new person out of myself, I searched into what I already had inside me and brought it out in a new way.”

The conversation shifts back to his recent trip to Germany. He tells me about losing his phone in the airport, only to have someone bring it to the plane just before taxiing onto the runway. He pauses for a moment, looking around his studio with the same wide smile that’s been on his lips the entire meeting; then he shakes his head and laughs. “I’m a lucky guy,” he says. “I’m the luckiest guy in the world.”

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LONDON CALLING

Photographer: Alex Traylen MUA & Stylist: White Pak Model: Zoe Brown All clothing by Yane Mode

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All Black and No Play Can Be So Blasé

by Ely Sepulveda

S

carves can be charming, they can be statements; scarves can make or break the outfit, or quite simply provide the warmth you need for winter. But if you’re reading Creative Sugar, you likely put a bit more effort into what goes around your neck (or elsewhere). All black and no play can be so blasé on a crowded street — you’ll need something extra special to stand out in a great way. Feeling feminine, modern, and edgy? Are you tired of seeing the same wonderful scarf you just bought walk past you time and again? Julie VanSuch has something for you. A Brooklyn based, self-proclaimed luxury scarf designer, VanSuch strives to provide you with unique designs digitally printed on natural fibers that just beg to be looked at. I sat down to have a chat with the head of J.VANSUCH Studio to find out all about her drive, her aesthetic, and her fresh scarves of course!

Already designing from her senior year at Rhode Island School of Design (RISD), VanSuch started her own line in 2012 with the push of her best friend Frank Marando. She became fascinated with the possibilities of communing prints and materials to create fun scarves to wear. Whether she’s traveling to Barcelona or Paris, Oslo or Belize, or just walking down the buzzing streets of Manhattan, VanSuch is on the lookout for inspiration in the small things. A busy woman with her own line, she finds the time to do custom work for boutiques as well as personal orders. She knows who her ideal client is, “a contemporary post-modern woman who likes to stand out with a wild print but is also sophisticated enough to have impeccable taste and weed out the bullshit. She loves luxury but knows how to have fun,” and VanSuch is ready to design for her. With key elements such as surrealism, nature, mystery and modernism, you will find bold prints and patterns with great splashes of color in each of her annual collections.

ES: Why do you design?

JVS: Mostly to feed my soul and because I feel so passionate about designing something beautiful to inspire others. It is so heartwarming every time I get a customer who tells me how much they love my work.

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ES: What motivated or inspired you to become a luxury scarf designer?

JVS: I saw a hole in the market for more artistic, painterly, and compelling scarf designs. I like the idea that what you wear reflects your mood and tells a story. I thought of it as an opportunity to showcase my paintings/artwork into a wearable item that is personal and collectable. I enjoy the idea of keeping people warm and creating a piece that someone gives as a special gift and does not dispose of at the end of each season like many clothing items.

A scarf is a timeless classic piece in your wardrobe that makes you feel good and can be sentimental.

My scarf line is a modern take on a classic accessory, using innovative digital prints, modern shapes, and luxury materials.

ES: What is your creative process like when designing?

JVS: I play around with many techniques and allow myself to experiment; this includes drawing, painting, sewing, and collage. Then I pick my favorite pattern studies and figure out how I want to combine them. As I am working, I start to narrow down my color palette and focus on the most beautiful techniques. One of my rules in designing is that it has to be a combination of 3 different elements or patterns. After I pick out my favorite elements to focus on, I scan them into the computer. In Photoshop, I can easily copy and paste all my different pattern studies and finish out the layouts in the exact size of the scarf or accessory. The file I create is then what I use to digitally print on fabric.

ES: Who are your role models as a designer?

JVS: I am completely obsessed with Mary Katranzou, Prabul, Phillip Lim, Christopher Kane, Jonathan Saunders, Dries Van Noten, Balenciaga, and Opening Ceremony.

ES: How do you set yourself apart from your competitors?

JVS: My designs tell a story that I find is rare in the

J U L I E VA N S U C H current market. Each print design is an original design and a limited edition. I only print 25 pieces and when they sell out, that’s it. These are not mass produced and you cannot just find them anywhere. I also do a lot of custom work. My customers appreciate the fact that they are getting a one of a kind piece that is made with love in Brooklyn.

KINETIC BLOSSUMS

ES: Do you plan on expanding into other accessories or apparel?

JVS: I would love to someday expand into apparel.

We will continue to focus on accessories for now until we are ready for that next leap. Stay tuned for our upcoming hair accessories and Men’s Fall line. I would also love to expand into tech accessories and handbags.

ES: How do you see yourself and your business in 5 years?

JVS: I see the business expanding into other products and our studio growing to host more equipment and local artisans. I love the idea of all these local craftsmen in all varying skills working on the J.VANSUCH line.

KINETIC CIRCLES

ES: What are you doing to accomplish these goals?

JVS: We are adding in some more embroidery techniques to the Fall line and working with a local small factory in Greenpoint. Our hair accessories are also being sewn there. I am experimenting with many more fabric and print techniques and silhouettes that will shape our future collections in a major way. I love collaborating and learning from all the incredible artisans I know.

Julie VanSuch’s current Spring line, the Kinetic collection, silks featuring hand-painted elements, is on sale now at jvansuch.com. While there, get an inside look at past collections and a taste of what’s to come, including the launch of her Fall line in September.

K I N E T I C S T R I AT I O N

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TAKE ON FILM

BY JOSEPH GALLO CREATIVE SUGAR Spring 2014

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G O WA N U S C A N A L I N B R O O K LY N , N Y

BY JOSEPH GALLO

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FILM PHOTO

BY JOSEPH GALLO

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TOMMY T: THE MAN BEHIND THE LENS

BY MORGAN CLARKE If you took a camera, and I took a camera, and we shot the same thing, what’s the difference?

-TommyT I sat down with Tommy in his Queens studio to catch up on life. We’ve known one another for over ten years now so we skipped the formalities and got right into reminiscing about growing up in Brooklyn.

“Remember when we used to get in trouble and have to stand on that stage?” Tommy laughed with me as we recalled some of our best childhood memories.

“Yeah man, we would kill for some recess time too.”

The conversation about elementary school and being nine years old gently transitioned to the topic of cameras. He was eyeing my Nikon D5000 and suddenly I felt intimidated when he asked me what kind of camera I had. Tommy walked over to scope out my less than par camera gear and began to mix-andmatch lenses with cameras. He was as genuine and easy going as I remembered.

When did you first notice your love for photography?

Would it sound stupid if I said…when I…picked up my first camera? [Laughs] What happened was, it started off as a hobby. Basically, I did graphic design.

And when you do graphic design, you need quality pictures. I decided to spend like $400-$500 on Christmas and I picked up a camera for graphic design, but then I started liking the quality of the pictures. That’s how I picked up photography. Then people started saying oh you take pictures, do my shoot...then that turned into party pictures, then party pictures turned into a website, and I just built on that.

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How did you teach yourself photography?

YouTube. Trial and error, experience, and YouTube were the main teachers. The editing was amazing because I already did it with Photoshop, but learning how to use a camera…just time and YouTube.

Where do you find most of your inspiration?

I would say fellow photographers. The people that I know that are photographers do really dope stuff, and that inspires me to do dope stuff. People will look at other people who do the same thing as them as competition, I see them as an inspiration.

What has been your favorite type of shoot thus far?

Hmm, my favorite? I think I’m going to say beauty.

High-end beauty. I chose that because I don’t get to do many. Most of my clients don’t come to me for that, and I like it because it’s very interesting when you get to the editing part. I get to put my own artistic spin on that. Even after the hair and the makeup artists do their thing, I get to go back and do my thing. It’s very detailed. You have to pay attention to skin and pores…

How do you motivate yourself before every piece that you do?

Honestly, some of them I’m not motivated to do.

Some of them I just have to do because someone hired me to. The ones that I like to do, I plan them.

I envision what I want and when I get there, I start making it happen. My personal shoots, the ones I do on my own like the 52 Project, I know how the lighting is going to be, and the kind of models I want.

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PHOTO BY TOMMYT

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Tell me about the 52 Project.

Basically, that’s a project based on portraits. So I want to feature different people, not necessarily certain models, or actresses, or celebrities. I just want your regular, normal, day-to-day people. A lot of times, clients may come to me and they want me to take pictures for their clothing line with their vision. With my 52, I want to show people my more creative side on my terms, my rules, and my vision.

What do you feel is the best/worst thing about being a self-taught photographer?

The best thing I would say is when you see how far you’ve come. You know that nobody helped you.

Nobody held your hand. It’s kind of like a proud moment where you get to say wow I did this on my own. You don’t owe anyone anything, and no one can say I taught you. That’s a really good feeling.

The worst thing is no one is teaching you! [Laughs] You have to make a lot of mistakes to learn. Even with business, since photography is my business, you have to learn those business skills, how to negotiate, and how to price your work without anybody helping you.

How do you feel after you’ve completed your projects?

Most of the times, when I finish a shoot, I can’t wait to edit. That’s really the best part. Sometimes I get upset when people post my photos when they aren’t edited because I feel like they aren’t showing my true potential. When I’m taking a picture I’m always thinking, damn I can’t wait to get home and do this, do that…that’s where most photographers get to show their creativity. I get to go home and put my spin on it, and that’s when it becomes MY work, and that’s what really excites me.

the building. That’s what I want to do. I want to have my studio with my business running out of it to help promote each other. I have good support and most people don’t have that. Their parents want them to get a 9-5, be a doctor, or be a lawyer. My parents support my entrepreneurship. They see my vision.

Do you have any advice for those who are pursuing the same things as you?

You have to be very brave. A lot of people won’t respect it, or they won’t understand it. You have to be brave enough to continue going through it even when you’re misunderstood. When I was getting ready to graduate, a lot of people were asking me what are you going to do now, meanwhile I’ve been doing photography for so many years. When I tell them I’m going to be a photographer, they look at me and ask what are you really going to do. You just have to believe in your goal, and believe in your business. As long as you have that, some support and a good foundation you’ll be fine. You also have to be personable too. Patient and personable.

TommyT is a man with a plan. He is a visionary who makes his own rules, and always adds a personal touch to his work. He is the epitome of young, fresh talent, and definitely someone you can expect to do big things.

Check out: www.tommytphotography.com

What are your short-term and long-term goals?

My short-term goals right now are just to get exposure. I just want to build my name. I don’t have a time limit; I don’t have a monetary goal. Getting exposure…that’s the foundation of any business.

I’m not trying to get rich quick; I just want to build my brand. Word of mouth, networking, social media, getting a good client base are all of my main focuses. My long-term goal is to own my own studio. I give myself about ten years for that because I’m trying to do it without investors and loans. I want to do it straight cash. My father and his father were both self-employed. My grandfather owned a tailor shop. He didn’t rent it out, he actually owned

PHOTO BY TOMMYT

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( L E F T ) A R T I S T A N D FA S H I O N M O D E L P E T E R S H O U K R Y (TOP RIGHT) SHARE MY DREAM DARLING (BOT TOM RIGHT) RISE EGYPT ( B O T T O M L E F T ) I ’ M G O I N G T O PA I N T T H E W O R L D

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THE ARTIST & THE MODEL: PETER SHOUKRY

BY BEVERLY COSSIA Peter Shoukry not only has charm, good looks, and amazing style, but the mind of a true artist.

Migrating from Egypt to Los Angeles at age ten, Peter never imagined that at age nineteen his art would be featured in one of the most popular museums in Los Angeles. As he got more gigs, his passion not only increased for art but also for fashion as he scored a major deal with Envy Modeling Agency. Infusing fashion into his art, he has created something incredibly refreshing to the art scene.

How has the fashion scene affected your artwork and the way you interpret your art?

Can you remember the first thing you ever drew or painted?

What are some qualities you think an art piece needs to have to be considered a masterpiece?”

“The first thing I ever drew was a spider man figure. I didn’t even know I could draw. I remember in high school I kept asking one of my friends to draw for me until one day he told me to try it for myself. And I did.”

“It needs to have everything; it needs to have composition, it needs to be something that people can relate to. It needs to have a meaning and that meaning I want you to figure out for yourself. I’ll give you a hint but the other 50 percent needs to come from you. Then comes that moment when everything finally comes together and every line, every stroke that I have made will make complete sense. I used to start without thinking about it and start painting or drawing. Now, I’ll let all my ideas come together first before I start. When you take your time and have all your ideas together, you will have a masterpiece.”

How would you describe your artistic style?

“Definitely abstract. I like to give people a lesson on art along with anything I’ve learnt.”

On your website, you have two paintings called “Rise in Egypt” and “One Night in Paris.” Do any of the places you visit have any impact on your art?

“Absolutely. Traveling is my biggest muse. But I like to incorporate the culture and even the politics and give it a scene. “Rise in Egypt” was inspired after a trip I took there. There was so much turmoil and I thought how could I give back to my people? How can I inspire them? I wanted to contribute and motivate and let them know that this will pass.

How did you feel about having your art work exhibited in La Contemporary Museum? “It was awesome. It was my start. The best thing I could ever have. It was my foundation you know. It was such a reward, such a blessing for my work to be validated.”

“I had always been into fashion. I had lost some weight and I started to look different so I lost some more. I later got signed by Envy and started doing some work for Banana Republic and H&M. I definitely make my art to look like a photo shoot. I like for the characters that I draw to look like they’re posing. But I like to market myself as a model and artist.”

What is your take on the art scene today? Do you have any advice for any young artist just starting out?”

The art scene today seems so big but it’s so much smaller than before. There are a lot more artists than before, but fewer artists who only breathe and live art. I mean it’s all over the place. I would say street art is this generation’s art form. That’s why I like to make my art colorful like street art. My advice to any artist is to get as much out there as possible. Don’t think about the money. Let people see your art. It won’t be easy at first but to make it you have to fail.”

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SHOW DATES AFA Gallery 54 Greene St NYC Joe Sorren: Knock Three Times March 8 – April 6, 2014 Opening reception: March 8, 2014 6-8 pm The works explore new forms and palette highlighting tender faces and gestures of his signature figures.

BAC Gallery 111 Front Street, Suite 218 Brooklyn, NY Subtle Approach March 6 – July 31, 2014 Subtle Approach is a group exhibition featuring the work of four Brooklyn-based artists whose clever techniques and ability to simultaneously push and pull their ideas and materials slowly reveal something other than what the viewer’s eye immediately perceives.

Artists: Megan Hays, Colleen Ho, Sarah Nicole Phillips, Carlton Scott Sturgill Curated by Courtney J. Wendroff Opening Reception: March 6, 6-8pm Betty Cuningham Gallery 541 W. 25th St. NYC

JOE SORREN, BOTH SIDES NOW

CARLTON SCOTT STURGILL, COUPLES IN THE POLO FIELDS

William Bailey Feb. 13 – March 29, 2014 While the current exhibition concentrates on William Bailey’s recent work, both figure and still-life paintings, also included is a selection of earlier paintings including Italian Profile from 1963, Girl in White Skirt from 1977 and L’Attesa from 2006.

The earlier works serve to reveal the evolution over the last 50 years of Bailey’s painting style and subject.

From his early work to the present, his imagery --- whether still life, landscape or figure---is composed solely from his imagination or, as he would say, “it comes from my head.”

This imagery is adjusted and refined in each painting.

WILLIAM BAILEY, CITIZEN AMONG THE MONUMENTS, 2013

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Chambers Fine Art 522 W. 19th St. NYC Multiple Perspectives: New Works by Xie Xiaoze February 27 – April 12, 2014 Opening: Thursday February 27, 2014, 6 – 8 pm Clifton Benevento 515 Broadway, 6BR (Between Spring/Broome) NYC Petroleum Jelly - Polly Apfelbaum, John Burtle, Kirsten Nash, David Zuttermeister Opens March 8, 2014 D’Ette Nogle – Michael Clifton & Michael Benevento and D’Ette Nogle present: Regressing to Mean Opens April 19, 2014 Polly Apfelbaum – A Handweaver’s Pattern Book Opens May 31, 2014 Flowers Gallery 529 West 20th Street NYC March 6 – April 26 Ken Currie Opening reception: March 6, 6-8pm Following his recent show at the Scottish National Portrait Gallery, these paintings continue to examine the relationship between painting, power and portraiture. This exhibition explores among other things the inherent absurdity of the human situation, and has drawn influence from the Spanish Masters Velázquez and Goya. Both these painters worked in the Royal Courts but recognized the vanity, indeed idiocy, in the rituals and protocols of court life. The figures in Currie’s work nod to the icons of the Old Masters, a barely concealed hint of satire of our own contemporary version of court life.

KEN CURRIE, RED TRIM, 2012

Ken Currie was born in 1960 and currently resides in Glasgow.

He graduated from the Glasgow School of Art in 1983 and has been exhibited internationally. His work is held in many collections including the Scottish National Portrait Gallery, the Scottish National Gallery of Modern Art, the National Library of Scotland, the Tate Britain, the Boston Museum of Fine Art, and the Yale Center for British Art and The New York Public Library.

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SHOW DATES Garvey|Simon ART ACCESS 547 W 27th Street, Suite 207 New York, NY J .Ivcevich: Shreds February 19 - March 22, 2014 J IVCEVICH: Shreds, an exhibition highlighting the artist’s most recent reinterpretations of shredded subway posters found both in New York City and other places in his travels. This will be Ivcevich’s second solo show in New York and his solo exhibition in the U.S. The opening reception will be held on Thursday, February 20, from 6-8pm; the artist will be present.

Alan Bray: New Paintings April 29 - May 31, 2014 ALAN BRAY, an exhibition highlighting the artist’s newest casein tempera landscape paintings. This will be Bray’s 7th solo show in New York and his first with Garvey|Simon Art Access.

The opening reception will be held on Thursday, May 1, from 6-8pm; the artist will be present.

J. IVCEVICH, SHRED MANDALLA II, 2013

Hasted Kraeutler 537 West 24th Street NYC Romulo Celdran Feb 13 – April 12, 2014 Hasted Kraeutler is pleased to announce the exclusive U.S. representation and inaugural exhibition of Romulo Celdran, beginning February 13, and running through April 12, 2014.

The artist makes sculptures and drawings of objects from his everyday life on an exaggerated, larger than life scale. The works in this exhibition encompass two series, Zoom and Macro.

Jeff Bark: Golden Boy April 17 - May 31, 2014 Reception for the artist on Thursday, April 17, 6 to 8 p.m.

The photographic tableaux in Jeff Bark’s newest body of work, Goldenboy, exist in an eerily ambiguous time of day, somewhere between the burning, first rays of dawn and the last glow of sunset. Suffused by a warm, languorous light that evokes the close heat of Southern California, and set amidst colors and textures that recall the 1980s, the series was inspired by aspects of Bark’s own autobiography.

Although most of the photographs appear to take place outside, and have an authentically rich, saturated West Coast palette, every one of them was actually taken inside Jeff Bark’s

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ALAN BRAY, DROWNED FOREST, 2013

ROMULO CELDRAN

New York garage, on a meticulously constructed set meant to replicate the California backyard in which he made his first photographs. Bark’s insistence on building these complex, intricate sets from the ground up—working in the controlled environment of his studio, rather than at the whim of the elements—is an essential element of his meticulous, timeconsuming process. In that spirit, the exhibition includes a sitespecific installation that offers a wholly sensory and immersive experience. Soaked in the warm light so masterfully captured in the photographs, and scented to evoke the salt-kissed air of the sea, the installation is fitted with live parakeets, transforming Hasted Kraeutler into Southern California, circa 1980.

Joshua Liner Gallery, Gallery One 540 W 28th St. NYC

JEFF BARK

Pema Rinzin: Abstract Enlightenment February 27 - March 29, 2014 Joshua Liner Gallery is pleased to present Abstract Enlightenment from Tibetan thangka painter and contemporary artist Pema Rinzin. This exquisite body of work will be Rinzin’s second solo show since exhibiting with the gallery in 2011.

Combining his knowledge of traditional thangka painting with his worldly travels to create contemporary pieces, Abstract Enlightenment includes work diverse in color and size. Please join us and the artist for the opening reception on Thursday, February 27 from 6 to 8PM. Julie Oppermann: Palinopsia February 27 - March 29, 2014 We are excited to introduce Berlin-based artist Julie Oppermann. This will be her debut solo show in New York, featuring abstract paintings on canvas and paper. Informed by her master’s degree in neuroscience, Oppermann’s paintings challenge the viewer to question how they see, creating an awareness of a sense that is usually involuntary. Please join us for the opening of Palinopsia on Thursday, February 27 from 6 to 8PM. The artist will be in attendance.

Krause Gallery 149 Orchard St (LES) COPE2 x Ben Frost March 21 – April 20, 2014 - “Legends of the New World” Opening reception: Friday, March 21, 7-9pm COPE2: Fernando Carlo (also known as Cope2) is an artist from the Kingsbridge section of the Bronx, New York. He has been a graffiti artist since 1978-79, and has gained international credit for his work. Although he is now known worldwide as

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SHOW DATES being one of the founders of graffiti, he didn’t receive recognition in the mainstream graffiti world until the mid-1990s when Cope2′s cousin “Chico 80″ influenced Cope into writing. In 1982 he made his own crew called Kids Destroy and eventually it changed to Kings Destroy after he dubbed himself “King of the 4 Line”.[1] Cope2 is well known for his “throw-up” and is also one of the most known users of “wildstyle” graffiti, a style which originated in the Bronx. Cope2 has achieved considerable mainstream success for his artwork and has collaborated and released many projects alongside such names as Adidas and Time Magazine, Sheperd Fairey, Retna, Kenny Scharf and more.

Ben Frost: (born Brisbane, Australia) is a visual artist whose work seeks to challenge contemporary norms and values of Western culture and society. Frost’s visual work places common iconic images from advertising, entertainment, and politics into startling juxtapositions that are often confrontational and controversial. He currently lives and works in Sydney, Australia, and exhibits locally and internationally. The title ‘Ben Frost is Dead’ comes from his 2000 solo exhibition of the same name where he faked his own death. Invitations were created in the form of a newspaper funeral notice and distributed nationwide.

JULIE OPPERMANN

Newspapers labelled him ‘sick’ and his actions ‘perverse,’ when, by complete coincidence, the invitations went out on the same day a local art patron died.

Frost has been exhibiting throughout Australia and internationally over the last 10 years, including solo shows in London, New York, and San Francisco, as well as group shows in Amsterdam, Berlin, Mongolia, and Singapore. In 2007, Frost participated in Tiger Translate in Beijing, collaborating with local Chinese artists.

BEN FROST

His work has appeared in countless magazines and newspapers including Vogue, Harper’s Bazaar, Oyster, WeAr, Monster Children, The Sydney Morning Herald, The Age, Ok!, HQ, Eyeline, FHM, Australian Art Collector, Broadsheet, and Art Monthly.

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COPE2

Laurence Miller Gallery 20 W 57th St, 3rd Floor, NYC Thirty Years - Thirty-One Photographers Exhibition: Feb. 6 – Apr. 26, 2014 Reception: Thursday, Feb. 6, 6 to 8pm On February 6th, the Laurence Miller Gallery will celebrate its 30th anniversary, establishing it as one of the oldest galleries specializing in photography in the United States.

Over the past three decades, the Gallery has hosted approximately 250 exhibitions, and the list of these shows reflects the evolution of photography during that time as well, emerging from the classic black-and-white medium that dominated much of the 20th century, to include today’s large-format color contemporary works, as well as video. The gallery takes great pride in having given many emerging photographers their first one-person exhibitions in New York City, as well as having presented many of photography’s greatest masters.

The Anniversary exhibition will feature the following: Diane Arbus, Laurence Bach, Thomas Barrow, Peter Bialobrzeski, G.B. Biggs, Gary Brotmeyer, Larry Burrows, Luca Campigotto, Joan Colom, Petah Coyne, Denis Darzacq, Lee Friedlander, Miguel Ángel García, Emmet Gowin, Robert Heinecken, Fred Herzog, Fan Ho, Dodo Jin Ming, Peter Keetman, Helen Levitt, Roger Mertin, Ray K. Metzker, Eadweard Muybridge, Toshio Shibata, Aaron Siskind, Michael Spano, Val Telberg, Jerry Uelsmann, Burk Uzzle, Minor White, Bruce Wrighton.

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SHOW DATES Lehmann Maupin 540 West 26th Street, New York, NY 10001 201 Chrystie Street, New York, NY 10002

KLARA KRISTALOVA, YOUNG GIRL GROWING, 2013

Klara Kristalova: Big Girl Now February 27 – April 26, 2014 201 Chrystie Street, New York Erwin Wurm: Synthesa February 28 – April 19, 2014 540 West 26th Street, New York Adriana Varejao: Polvo April 24 – June 21, 2014 540 West 26th Street, New York Lesley Heller Workspace 54 Orchard St, NYC Katherine Newbegin: Vacant March 16 – April 20, 2014 For the past nine years, Newbegin has photographed vacant spaces of leisure, travel and transitional occupancy. All of the spaces she photographs are deeply informed by traces of the human activities that take place in them, but only remain in evidence left behind. The architecture of these hotel rooms and movie cinemas hold a stifling sense of deadness, as if they were already a museum, acting as a conduit into a displaced time.

Newbegin photographs with film on a Pentax 6 x 7 medium format camera and uses only natural lighting, which gives her photographs an ethereal glow.

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KATHERINE NEWBEGIN,HOTEL TOURIST I (BLUE PHONE) CHISINAU, MOLDOVA, 2007

Luhring Augustine Bushwick: 25 Knickerbocker Avenue Brooklyn, NY 11237 Chelsea: 531 West 24th Street NYC CHELSEA: Jeff Elrod Rabbit Ears March 8 – April 12, 2014 Opening reception: Friday March 7, 6-8 pm This will be the artist’s first solo show with the gallery.

In this exhibition, Elrod presents a group of large-scale abstract paintings which all come from images first made on a computer screen. In his view, the 21st century is characterized by our engagement with the screen, which is illusionary space.

Digital images will seem to possess depth, but in reality they are compressed and read as a flat surface.

Tunga April 18 – May 31, 2014

Larry Clark June 7 – August 1, 2014

BUSHWICK: Michelangelo Pistoletto Minus Objects Dec 18, 2013 - May 11, 2014

MICHELANGELO PISTOLETTO: THE MINUS OBJECTS 1965-1966, INSTALLATION VIEWS, LUHRING AUGUSTINE, BUSHWICK, PHOTO: FARZAD OWRANG

JEFF ELROD STUDIO

The Minus Objects 1965-1966 is an exhibition of one of the earliest and most important bodies of work created by the artist Michelangelo Pistoletto. Widely regarded as fundamental to the birth of the Arte Povera movement in the 1960s, this seminal series radically upended the prevailing art trends of the time.

Tom Friedman May 21 – August 1, 2014

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SHOW DATES Mike Weiss Gallery 520 W 24 NYC

MARTIN WICKSTRÖM

Thrush Holmes: MORE - March 8 - April 5, 2014, Opening Reception March 8, 6-8 PM Martin Wickström: Perfume River – April 10 - May 10, 2014, Opening Reception, April 10, 6-8 PM Michael Werner 4 East 77th Street NYC Sigmar Polke: Early Works on Paper March 13– June7, 2014 Nancy Margolis Gallery 523 West 25th Street NYC Salvatore Federico February 6 – March 29, 2014 The artist’s first exhibition with the gallery, on February 6, 2014, will be on view through March 29, 2014. The opening reception will take place Thursday, February 6, from 6–8 pm.

In his most recent body of large-scale acrylic-on-canvas paintings, Salvatore Federico continues to paint exuberant minimalist two-color compositions. The exhibition’s palette is typically punchy, using only the most saturated hues. Bold juxtapositions of warm with cool, dark with light—color combinations that are unexpected yet skillfully deployed—demonstrate the artist’s exceptional color sensibility. In each painting, hardedged, sometimes zigzagging, forms hover over flat fields of color. These origami-like shapes float and pirouette across the painting plane, while at the same time effecting a tangible tension as they twist, fold and confront the edges of the canvas.

At once full of movement and structure, Federico’s angular forms conjure endless associations with subjects both concrete and abstract.

Born out of the minimalist aesthetic, Federico’s work bears the influence of the late Henri Matisse, Ellsworth Kelly and the sculptor Tony Smith, who was Federico’s teacher. Federico was born in Washington, D.C. After receiving his B.F.A. in 1966 from Richmond Professional Institute, he was awarded a Graduate Fellowship from the Virginia Museum of Fine Arts. He attended Hunter College in New York City from 1966–1967, receiving

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SALVATORE FEDERICO

an a M.A. in painting in 1971. Federico has exhibited widely throughout the United States and New York, including George Billis Gallery, Amos Eno Gallery, SAI Gallery and The Drawing Center. His work has received numerous accolades and has been featured in The New York Sun, The New York Observer, Art in America, The New Republic, The Richmond-Times Dispatch, The Virginian-Pilot, The Washington Post and Modern Painters. Federico lives and works in Sullivan County, NY, and Manhattan. This is his first exhibition with Nancy Margolis Gallery.

NY Studio Gallery 154 Stanton Street at Suffolk Street, NYC Art Party Saturday March 1, 8pm - 2am Featuring sculptures and an appearance by Alan Wadzinski Sculptures by Alan Wadzinski on view until May 10 PIEROGI 177 N. 9th Street Brooklyn, NY BOILER 191 N. 14th Street Brooklyn, NY Pierogi: Reed Anderson March 21– April 20, 2014 Opening Reception: Fri, March 21,7-9pm Kim Jones April 25 - May 25, 2014 Opening Reception: Fri, April 25, 7-9pm The Boiler: Ward Shelley and Alex Schweder: In Orbit February 28 – April 5, 2014 Opening Reception: Feb. 28, 7-10pm Performance Dates: February 28 through March 9, 2014 Hours: Noon to 6pm Radiator Gallery www.radiatorarts.com 10-61 Jackson Ave, Long Island City, NY 11106 Offline Participating Artists: Martha Clippinger, Molly Dilworth, Carolyn Lambert, Beth Letain, Stacie Johnson, Sarah G. Sharp and Parsley Steinweiss

REED ANDERSON

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SHOW DATES Curated by Sarah G. Sharp OFFLINE proposes that part of the cultural response to the overwhelming information, access, images and mutable identities that come with life lived on the internet and mediated through a screen, includes a re-envisioning and invocation of the very thing the digital era suggests we leave behind: the “real.” The show presents seven artists who respond to these contemporary “upheavals” by reframing the mundane, concrete material of their lived experience in light of contemporary metaphors like rhizomatic relationships, the recombinant, the virtual and the network. Without nostalgically fetishizing the analog or relying on anti-technology rhetoric, these artists use familiar forms like abstract painting, found materials, performance and photography to re-imagine our new every day life in concrete terms and provoke altered perceptual readings of our “offline” experiences. We are reminded that our concrete experiences and identities are both re-framed by and persist alongside our online lives.

Recess Arts 41 Grand Street NYC Recess is hosting Liz Magic Laser, and her project Bystander, from now until March 22, with a reception on March 6th from 6-8pm. The project will culminate with performances presented in partnership with The Kitchen on March 27-29 at 8pm.

Laser will collaborate with journalists, actors and other artists to create and edit a script based on interview responses from visitors to the space. The culminating performances at The Kitchen will stage a dialogue between television news production and its viewers. Reversing expected roles, professional newscasters will deliver subjective testimonies while actors, representing the public, offer factual reports.

Robin Rice Gallery 325 West 11th Street NYC Lance W. Clayton March 19 - April 27, 2014 Sous Les Etoiles Gallery 560 Broadway #603 NYC Richard Caldicott February 13 - March 29, 2014

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STACIE JOHNSON, TEAM HANDSHAKE LIZ MAGIC LASER, BYSTANDER

Through subtle play of reorganization and repetition, British photographer Richard Caldicott has continued to explore use of geometric, structured composition and line, orienting his recent work into an almost conceptual performance of refinement, and ultimately creating a taxonomy of lines that redefine a sense of space, trajectory and movement. Here, lines are the traces of a vital force: photographic illustrations of the artist’s creative course. Recent Work 2010-2013 will be on view at Sous Les Etoiles Gallery February 13-March 29, 2014.

For the first time in exhibition are Caldicott’s 2013 photogram and paper negatives. In conjunction with the exhibition, a catalogue published by the gallery is available with new texts

by Derek Horton and Lyle Rexer.

LANCE W. CLAYTON

Tibor de Nagy Gallery 724 Fifth Avenue, NYC Kathy Butterly: Enter A selection of new, abstract ceramic sculptures Jen Mazza: Graft A selection of new paintings depicting reproductions from books Gallery Reception Thursday, February 27, 5 – 7 pm February 27 – April 5, 2014 Zach Feuer Gallery 548 West 22nd Street New York, NY 10011 February - March Gallery 1: Kate Levant: Reverse Leash Effect Gallery 2: Brad Troemel: Freedom Lights Our World (Flow)

RICHARD CALDICOTT, UNTITLED KATHY BUTTERLY, PIRETTE, 2013

April - May Gallery 1: Kristen Morgin Gallery 2: Julian Hoeber & André Kertész

May - June Gallery 1 & 2: Mark Flood

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S O S W E E T YO U ’ L L G E T A C AV I T Y. C R E AT I V E S U G A R M A G A Z I N E . N E T

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