FADDY Magazine - Issue 32 June 2021

ISSUE 32 JUNE 2021

NOSTALGIA ISSUE featuring

FORMENTO & FORMENTO

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FOLLOW, CONTACTS Instagram: faddymagazine faddymagazine@gmail.com Facebook Page: faddymag For all inquiries please contact Candice Solomon Email: candicevalentinesolomon@gmail.com, FADDY Magazine submissions: candicevalentinesolomon@gmail.com Web Page: http://faddymag.com FADDY MAGAZINE EDITOR-IN-CHIEF & ARTISTIC DIRECTOR Candice Valentine Solomon MANAGING EDITOR Biagio De Giovanni SVP SALES AND ADVERTISING Candice Valentine Solomon candicevalentinesolomon@gmail.com JOURNALIST/WRITER Linda Arroz Gabrielle Smith Jamie Valentino Anneysa Gaille Rhett Butler EDITOR-IN-CHIEF ASSISTANT Helen Wilkey GRAPHIC DESIGN CONSULTING Massimo Storari GRAPHIC Giulio Cesare Silvestri & Biagio De Giovanni FADDY MAGAZINE HEADQUARTERS FERRARA - 44124 - Via Giglioli 28/A FADDY MAGAZINE US HEADQUARTERS New York, New York +1 917-963-9473 5

Editor’s Note Dreams do come true and time is indeed a dance. This issue is

I hope everyone has enjoyed watching me and all of our creatives

so special to me because I have waited 12 years to work with the

globally mold and grow Faddy Magazine into something to be proud

Formentos. They are the reason and my inspiration and why I chose

of.

this trajectory as a Creative Director, producer and stylist. Now The

I could not have done any of this without all the contributors ,artists,

Editor in Chief of Faddy Magazine after many years as a Bridal Gown

creatives and their trust and our beautiful team at Faddy HQ.

designer and company in NYC.

I feel like I have stayed the course and most of all kept my promise

I believe everything happens in it’s own time. I am so delighted that

of building a global creative family who really cares about each

BJ Formento and his Beautiful Wife Richeille created the cover and

other. This is something I’m really proud of.

inside feature of Faddy Magazine’s June Nostalgia issue.

I love each and everyone of you so much for this honor and privi-

I would also like to thank the TWA Hotel for facilitating and hosting

lege.

this beautiful cover and feature story.

I am over the moon to share our June issue with you and celebrate

For those of you who don’t know this will be my 1 year and a few

my one year and a few month anniversary as Editor in Chief of

months anniversary issue since I took my Role as Editor in Chief at

Faddy Magazine.

Faddy Magazine I am super honored and proud of the work that we

Thank you Biagio De Giovanni for this beautiful honor and privilege.

have accomplished this year has been a huge year of growth with

I have loved every single moment of my 80 hour work weeks and

so much love and gratitude since I came on board.

building something beautiful. It’s an honor to work with you my

I hope you have been enjoying the seeds that I have sewn during

friend.

this year of rebirth and a global reboot.

I would like to thank everyone from the inception who has helped

Oooxxx

and supported me to grow and rebrand Faddy Magazine as a top

Candice Solomon

luxury publication in the Fashion and Creative community.

Editor in Chief Faddy Magazine

C

andice Solomon a native

segment of the fashion industry. She also operates a highly suc-

New Yorker, resides in Man-

cessful e-commerce showroom servicing blue ribbon customers

hattan with her fiancé and

globally. She is Editor-in-Chief and Artistic Director for FADDY

artist Robert Santore.

Magazine and the Sr. Vice President of Sales & Advertising.

Candice is a world traveler and the

Candice Solomon has an accomplished and impeccable reputa-

quintessential Native New Yorker.

tion in the world of fashion and fashion design as;

She is a highly successful female en-

•

Creative director

trepreneur running the operations,

•

Design director

“day-to-day” and strategic business

•

Editorial strategist & executive produce

offerings in the highly competitive

•

Stylist

and ever-changing landscape of the

•

Content creator

fashion industry. She is an award winning bridal and evening wear

•

Fashion merchandizing strategist

designer noted for her international and celebrity red carpet pa-

•

Fashion and style trendsetter and Mentor

trons.

•

Branding specialist

She has been featured in People Magazine’s “Best Dressed” for

•

Instagram & social media influencer & strategist

dressing her distinguished clientele, most notably, Donna Ha-

•

LikeToKnowIt influencer

novers wedding dress in People Magazine and “Town And Coun-

Candice is renown throughout the fashion industry as the “go

try” magazine.

to girl” for “anything and everything” from sourcing incredible

In addition, she was featured in multiple concurrent years in the

location for editorial photo shoots, engaging with and securing

highly prestigious “Best Of” in New York Magazine. Candice was

the worlds best and acclaimed photographers, stylists, award

regularly featured in the New York Times, “Style and Fashion”

winning hair and makeup professionals to securing multi-million

sections, and in many global publications, both print and digital

dollar apparel pulls for promotions and presentation, as well

editions.

as working with an inclusive, multidimensional pool of talent as

She was the executive producer and an on-screen commenta-

models.

tor for the award winning documentary “7 Years Underground”

She is passionate and a life-long supporter of the LGBT Commu-

which focused on the early years of Rock & Roll, Jazz and Blues at

nity, Trans Lives and mentor to many talented young people who

the famous “Café A Go Go” located in Greenwich Village in New

have become incredible successful under her guidance.

York City. “7 Years Underground” winning awards in film festivals around the world.

Photo by to Robert Santore. @robertsantoreart

Candice is the owner of a boutique consultancy/agency in New

@robertsantorephoto

York City focusing on optimizing strategic placement, strategy

Cabana Dress by Bash Paris

and trend management for a broad cross section and inclusive

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F A D DY Mag

LINDA ARROZ - Writer Linda Arroz is a writer based in California. Words are her currency. The first plus sized spokesmodel to get a contract with a major brand, Spiegel Catalog, Arroz’ career spans the evolution of her skill sets. Her portfolio of work has always been a voice of inclusivity.

Co-author of “Affordable Couture,” Arroz’ experience includes working as an apparel firm marketing director, magazine editor, fashion stylist, and TV personality, producing hundreds of morning television makeovers. Her consulting firm, Makeover Media, continues to advise clients on a range of issues and opportunities. Acting as a cultural anthropologist, she puts the past into perspective in order to manifest the future.

Arroz is currently writing a memoir of her years working on the assembly line at General Motors.

GABRIELLE SMITH - Writer Gabrielle Smith is a freelance journalist and creative copywriter. The London College of Fashion alumna has written widely about fashion and culture, with her work published in numerous magazines such as; Harper’s Bazaar UK, House of Solo Magazine, French Fries Magazine, Overdue Magazine etc.

ANNEYSA GAILLE - Writer Anneysa Gaille is a poet, educator, and journalist based in New York City. In 2018 her chapbook, No Such Thing As, was published by the Center for the Study of Gender and Sexuality at the University of Chicago.

She is currently an adjunct lecturer in the English Department of Brooklyn College. Gaille also serves as the poetry and visual arts editor for the Brooklyn Review.

JAMIE VALENTINO - Writer Colombian-born writer, Jamie Valentino is the Editor-at-large of POP Style TV, and his column Sexpert is published biweekly in PROVOKR. You can read his essays and interviews in Google Arts & Culture, W42ST Magazine, LUXE Magazine, The Queer Review, Vulkan Magazine, and more.

RHETT BUTLER - Writer Rhett Butler is a print and broadcast journalist from New York City. His work has appeared in TIME Magazine, Money Magazine, UFC Magazine, JET Magazine, Heavy.com, The Shadow League, and more. He is also a Boxing Writer’s Association of America Member, Play-By-Play Commentator, and Combat Sports Insider.

HELEN WILKEY - Assistant to Senior Fashion Editor Helen Wilkey spent her first two years out of The University of Chicago working in talent, most recently at Paradigm Talent Agency. Ready to explore realms beyond her desk, Helen looked to fashion for hands-on production experience. She is now assisting on shoots in and around New York City.

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table of contents

154

8

Damien Carney Featuring Elena...

134

Sebastian Magnani

170

Philip Pearlstein

228

Hana Solenthaler

10

Formento & Formento

Personal Feature

Daily Bat

Exclusive Interview

F A D DY Mag

Nostalgia

54

Mathilde Oscar

82

Dystopia

206

Bart Ramakers Personal Feature

Jurij Treskow

Personal Feature

246

Renée Jacobs

Personal Feature

106

Gary Sheridan Personal Feature

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Formento & Formento NOSTALGIA

FORMENTO & FORMENTO EXCLUSIVE I N T E RV I E W B Y L I N D A A R RO Z

Can you tell us when things

United States, (airstream #1)

One of our recent gigs was a

really started to take off for

spending our days telling sto-

commission by the legendary

you?

ries, daydreaming, and living

singer Gloria Estefan (gloria).

in the moment. We ended up

It was very rewarding to have

shooting for two winters.

a client of her magnitude

The day our planets aligned

express how much she loves

was January 2, 2005.

I was based in New York City (NYC) and Richeille was living in London. At the time, she was art directing dozens of commercial shoots in Miami, and as luck would have it, I was booked to work with her. We locked eyes and danced till the sun came up in South Beach. It seems we

In 2011, a gallery in Paris discovered our work “Cir-

the 21st century. One week later I moved to London. A month later I proposed on

Bruised Knees,” and pub-

Once, when we were work-

lished a 400 page, 12-pound

ing in Mumbai, India (shweta

book (#book1). This was the

xxviii), Richeille and I want-

catalyst for a commercial

ed to make a statement on

agency in NYC to represent

arranged marriages. We

us, and the birth of our fine

hired a funeral band to play

art career.

on Juhu Beach as the model entered the water pretending

Were you prepared for the global reception of your work?

a set in Cape Town in South Africa, and three months later we were married in New York.

After a year in London, we

to drown herself. Within minutes a crowd of 500 people gathered, and mass hysteria ensued.

They all thought it was a

Since I was 14 years old, my

Bollywood production. By the

dream was to be the next

time we wrapped the shoot, I

Richard Avedon. It couldn’t

lost Richeille in the crowd. In

have come any faster.

the mayhem, we finally made it back to the car, but the

moved back to NYC and

14

freedom.

cumstance: America Down on

had promised each other in a previous life to meet again in

our work and give us creative

people were on top of us. I

started our own company,

In addition to the work you

but then the great recession

create for yourself, do you

of 2008 came over us like a

take on client projects, and

tsunami. With no work, we

if so, can you share one or

decided to hit the open road.

two assignments that were

As for challenges, during our

We bought our dream Air-

fun, exciting, challenging or

first trip to Kyoto in 2013, we

stream and drove across the

rewarding?

had an idea to shoot with two

F A D DY Mag

felt like I was a member of the Beatles.

boats on the Kamo River in

each other to not give up, this

Thank you for the kind words.

Arashiyama. After shooting

image would not exist today.

The F&F signature evolved

with our model for most of the day, we headed down to the river. We had arranged for the boats to be there at dusk. When I started to unload my gear (we travel with

organically. In the early Do you keep a journal of ideas that come to you, and do you ever act on those ideas?

a lot of lights) the boatman’s

days we tried fashion and then advertising, but quickly became tired of the subsequent images not having any transcendence. From Richeille’s amazing art direction and

price went from $14 hour to

Great question. Yes, many of

her impeccable styling, to the

$400! He thought we were

my ideas stem from dreams,

stark lighting of our cynical

from Hollywood and want-

or should I say nightmares,

and ambiguous heroes,

ed to be paid more for his

while Richeille pulls from her

intertwined in intricate plots

services.

life experiences, her love

and underlying existentialist

We were losing the light, so

for vintage and cinema and

philosophy, we always aim for

we scrapped the idea and

music. My subconscious mind

the work to be timeless. We

quickly regrouped. As luck

is so active when I am uncon-

see everything through the

would have it, I had been

scious. The film noir starts

filter of an atmosphere we

snacking on tako (octopus) all

streaming when I close my

create. The darkness of the

day and there was some left.

eyes.

stories come from our disenchantment of the present

Richeille and I looked at each other and without speaking a word we knew immediately what to do the with remaining tentacles. We found a picnic table riverside and instructed

Your work stands out, not only for the hyper cinematic quality, but for the eerie

times and the past. Or maybe our work is simply a love letter to a culture and place.

sense of time standing still. It’s almost a signature.

Editor in Chief, Candice

Looking at a photo, one

Solomon, met you on a

could say, that’s a “formen-

shoot for Italian Vogue

to and formento,” as one

in Miami. She said that

would do when staring at

meeting you was a turning

It’s important to take what

an image taken by Helmut

point in her career, and you

the world gives you and make

Newton. Is this a quality

became her inspiration to

the best of it. If it hadn’t been

that has developed over

become a creative director,

for the boatman’s greed, our

time, or did you come to it

stylist and producer, which

calm disposition, and pushing

organically?

led her to FADDY. Can you

the model to lay down on top of it. The result was the best photograph from the series, Japan Diaries (mai vi).

15

define a moment where

You mentioned you drove

another story), flew to Oregon

you became complete in

an Airstream across the

and bought it on the spot. We

understanding your calling

country. So many people in

needed a car to pull it with,

in fashion and photogra-

the art and fashion worlds

so we bought a Land Rover

phy? Was there a muse or a

never take the time to get

the very next day. We just

chance encounter?

outside their glamorous

took it easy and drove it down

metropolis. Nor do they

to San Francisco. The series

meet the women who may

“Circumstance” was born.

never know what’s it like to

Oh, the humanity. We met

We love FADDY magazine and how cutting-edge Candice, and her team are! Brava!

It’s an honor to be an inspiration for other artists. We sometimes teach workshops and love to see the students faces light up when they discover their own method.

feel truly beautiful, to feel the strength in their femininity. tion of images of real wom-

in the RV parks, giving us hus-

en you met while you were

band and wife life lessons!

on the road trip across

We must also say thanks to all

America. These photos are

worked in fashion photogra-

you still have it your Air-

phy. It’s in this genre we came

stream? During COVID this

to understand how styling,

van life has become quite a

hair and makeup, the shine,

trend. Can you share some

the glitz and glamour of it all

behind the scenes human-

comes together. When we

ity of that trip? Was it hard

incorporated those skills and

to learn to drive the Air-

applied it to our personal

stream? Did you have any

work, it all just clicked. This

roadside issues, like a flat

is what we want to do for the

tire or engine trouble?

rest of our lives, to express

behind a body of work that will hopefully, have a lasting impact.

ones wearing Airstream hats and vests who helped us pull

particularly striking. And do

world of formento, to leave

generous souls, especially the

I’m fascinated by the collec-

We are grateful to have

ourselves, and share the

so many wonderful people,

the people who let us shoot in their motels, abandoned mental institutions, airplane boneyards, diners, neon graveyards, gas stations, and morgues. (lori 2, vanessa&juchi&cheryl, rene 1, rachelle 9, lauren 6, christina 3, dijana 9, laura 1) As for road issues...there were many. The first time we had an issue was in White Sands National Park, New

We had never pulled a trailer

Mexico. (sharina 1). We had

before in our lives. Richeille

spent the day shooting in the

found this Airstream in mint

Park. Twilight was approach-

condition on Craigslist. We

ing as we wrapped, and it

immediately packed up our

got dark fast. We discovered

cats (and 5 kittens, that’s

the engine in the Land Rover

wouldn’t start. The Park was

month in Malibu, parked at a

I read that you traveled to

about to close, and all the vis-

spot overlooking the Pacific

25 states. After seeing half

itors had left, so there wasn’t

Ocean. The beauty of being

the nation, what conclusion

anyone to ask for help. Fortu-

on the road is that you realize

have you come to about

nately, a park ranger saw us

you really don’t need all the

the status of women?

on his last round up and was

material trappings. It was

able to give us a jump. An-

all so simple and such an

other time, in Reno, we were

adventure. We can’t wait to

trying our darndest to get to

do it again.

California for Thanksgiving, so we braved driving in a snowstorm. We lost control of both the truck and Airstream going downhill and ended up breaking an axle (airstream2).

While we were parked on a cliff in San Francisco, hurri-

You photographed women you met along the way.

Was it hard to get them to trust you? Can you share any back stories on these women?

rious, and beautiful! But we knew that already.

I was enthralled with the vintage luggage in some of the photographs. Did you shop at second hand and vintage stores along the way, or did you load up the Airstream with everything

cane like winds were trying to lift the Airstream of the

It was such strange times.

you wanted to shoot? (vin-

ground. We huddled up and

People were losing their

tage suitcases)

prayed to see daylight. One

homes, their pets, living in

week later we heard on the

cars or motels with weekly

news that the same spot

rates. I think these people

where we were parked fell

saw us as being in the same

into the ocean.

boat, living out of our trailer,

Then there was the time we were shooting an abandoned Airstream in the Salton Sea and it turned out to be a meth lab (tiana1)! Gun-toting characters right out of the show “Breaking Bad” chased us out!

One of the best memories though, was spending a 20

Women are complex, myste-

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and we think this helped form a kinship. Richeille would ask the model if there was a spot that had sentimental value to them, and they showed us. If it hadn’t been for these women, we wouldn’t have known about so many interesting locations. (laura1, deana 5, doris 14, katie 3)

“Circumstance” will always have a sweet spot in my heart. It was our breakthrough series. I can’t believe we just had our 10-year anniversary. As for the props, we would go out of our way to hit thrift stores in small towns.

We are happy to say we still have “lodger” our airstream and we plan on hitting the road this winter for a new series entitled “Nostalgia.”

I’ve been to Cuba and

Both times we were interro-

We wanted to create photo-

couldn’t take my eyes off

gated by Cuban customs offi-

graphs that shine a light on

your images I’ve been able

cials for several hours, giving

our heroine the radiant, bom-

to see online from your

us the third degree for having

bastic Cuban woman. Here

series, “She is Cuba.”

so much gear and equipment.

we try to capture the twilight

Cuba is such a surreal

Then, when we were depart-

of the Castro era, the immi-

ing for America, we learned

nent changes, the struggles,

an all-points bulletin was

the anxiety, and the hope.

out on us with the police for

Seeing the world through

shooting some nudes in the

Cuban eyes was inspiring and

historic Teatro Campoamor

we hope our photographs

(amor). It was a nail-biting

can speak of beauty, despair,

experience at the airport. We

and the waiting for the inevi-

hid flash cards where the sun

table.

place; a Communist, third world country, its sheer beauty is in the decay of the present and the decadence of its past.

Where did you stay and how did you manage without the internet?

Talk about nostalgia, remember the romance of a time before the internet? This time capsule of a place is wonderful, and the people

doesn’t shine...

Cuba is still such a mystery to most Americans.

What were you hoping to

for the TWA shoot?

achieve there, and did you succeed? If you could distill

In our new series “Nostalgia”

the work from this project

we’re taking a few years to

We ended up staying in Old

into words, what would you

explore sentimental long-

Havana. We met a lady who

say?

ing, feelings of pleasure, the

are so generous and kind.

owned a café with a flat to rent upstairs. In 2014, we went twice because we blew up a strobe light during the

How do you think working in Cuba affected your aesthetic?

first trip when a big wave crashed on the Malecon (the

The allure of Cuba’s forbidden

main drag along the water-

culture is found amongst the

front in Havana) where we

crumbling walls of colonial

were shooting (marian 13,

architecture, the abandoned

marian 3), and there was no

cinemas and casinos, the

repairing it.

streets of Old Havana and all the glory that once was.

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What was your inspiration

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wistful affection we have for the past and for a period or place that emotes sadness or happiness.

In 2001 I was supposed to shoot a commercial job at the TWA terminal at JKF International Airport. The place was a glorious mess at that time, and I was heartbroken when that gig fell through.

That same year, the termi-

Would you describe a typi-

good to re-read “Big Magic” by

nal was shuttered when the

cal workday together?

Elizabeth Gilbert.

airline went out of business and sat unused for years (except when it was briefly reopened to film scenes for Steven Spielberg’s “Catch Me If You Can”). An architectural icon, the TWA hotel sits in the former TWA terminal at JFK International Airport, which was designed by the Finnish American architect and furniture designer, Eero Saarinen.

When the terminal first opened in 1962 (under the direction of business magnate

Film: Any film by Stanley Depending on the scope of the shoot, we spend 2-3 days prepping. From set building We shop for styling, from the

Music: “Forever David Bowie”

top of a wig down to the un-

and 90’s hip hop, baby!

derwear. We go for our daily walks and hash out ideas, one of our favorite things to do on Sundays is ride our electric scooters around Central Park and enjoy a nice brunch reading the “The New York Times.”

What do you do when

the Jet Age and glamour of

you’re not working?

1960s air travel; today, it’s

modern architecture in the world.

The terminal became protected when it was placed on the

Tarantino, and of course, Woody Allen.

Hughes), it was a symbol of

examples of mid-century

Guillermo del Toro, Quentin

to acquiring the right props.

and then TWA owner, Howard

among the most significant

Kubrick, Wes Anderson,

This summer you’re presenting a Masterclass Workshop in Paris. The course description makes you seem so approachable and down to earth, yet your persona and body of work evoke the intimidating language used to describe great art. This is

I like to play guitar and sing, Richeille loves to garden.

Over the pandemic we built three Japanese studios in our backyard.

National Register of Historic

quite a feat. What I’m intrigued with is the idea that you respect the serious amateur. The curriculum indicates you share your trade secrets to the ethereal quality your expertise in

Places in 2005. MCR Hotels

Current book, film, or music

lighting, art direction, and

and Morse Development won

recommendation to get the

styling bring to the equa-

the bid to turn the historic

creative juices flowing?

tion. Can you tell us about

landmark into a hotel for the 21st century, which opened in May 2019. We were so happy to get access this time around; it only took 20 years.

the genesis for the MasterCurrent book: I highly recommend: “How to be an Artist”

by Jerry Saltz and it’s always

class? Are you sharing your trade secrets? Would you allow any of the students to use an iPhone?

When I was starting out in San Francisco, it had such a small photography industry, and the shooters were so cliquey and stuck up. I would

individuals are different, even

ry on with our Japan Diaries, I

under the same conditions. I

believe we are up to chapter

believe that the main value of

four now.

any photographer is not just in his skill set or knowledge base, but in the way that he

Formento Foundation, your

just dream of how to break

applies it.

in. In 1999, I moved to NYC

Would I allow an iPhone? I

and started assisting for the

always say what matters is

first time. I was lucky to work

what is the 6 inches behind

The Formento Foundation is

with amazing artists like Mary

the camera. The camera is

a nonprofit where we plan

Ellen Mark, who was such a

just another tool.

to teach art direction, book

set. I also worked for prima donnas and coke heads. And I told myself, if I ever made it, I would do three things: pay the assistants at the end

mission, and efforts?

making, and photography. As

wonderful person on and off In addition to the Masterclass, what’s next on the horizon now that the world is opening more?

well as a speaker series, we’ll show art films, and build a library of resources that will be available for high-risk young artists interested in this field.

We are currently based in

of the day, teach technical

26

Can you tell us about the

Stamford, CT but plan on

and business aspects of this

Hallelujah! Thanks to www.

trade, and pay it forward by

sexdolls.com for supplying us

sharing what I have learned

with silicone dolls that kept

about the philosophy of fine

our creative juices flowing

art photography. So yes, we

through the pandemic for our

share our trade secrets.

series “Rubber Soul” (see lu-

At first there were a lot of

cha libre). Now there is a tiny

copycats and guys with cam-

light at the end of this tunnel,

eras. But then we figured out

and we want to make plans,

To fall in love with photog-

a way of screening the work-

but we aren’t getting our

raphy is one thing but to fall

shop candidates to find those

hopes up too high because

in love while creating photo-

that share our same love and

we are not out of the dark

graphs is a whole other thing,

desires. The most difficult

quite yet.

and both things happened to

thing in photography is to

For “Nostalgia” we‘re going to

develop your own method or

drive cross country this win-

“algorithm of behavior” during

ter. We have numerous solo

the shoot. Everyone has the

exhibitions in the pipeline

same challenge, but the result

here in the US and in Europe.

is different – primarily be-

And we have tickets for a trip

cause the decisions made by

to Japan in November, to car-

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branching out to London and Philippines.

Is there something you’d like to add or mention?

us. I believe beauty is what happens when people who care about each other make things together.

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TWA HOTEL

1962 living room and peri-

and home to more peloton

www.twahotel.com

od-perfect remakes of Eero

bikes, outside of the brand’s

Sarrinen’s drafting table and

flagship studio in Chelsea.

Howard Hughes office.

Built in 1962, at the apex of the Jet Age, the now historic

OFF THE GRID

TWA terminal was designed

DINING

A marvel of 21st century

by Eero Saarinen, a Finnish

Guests can enjoy several on-

technology, the Leed-certified

American designer whose

site restaurants and bars in-

hotel is considered ground-

work helped define modern-

cluding the Paris Café by Chef

breaking in that it’s complete-

ism.

Jean-Georges Vongerichten,

ly off the grid, drawing energy

The Sunken Lounge, a food

from its own, self-sufficient

hall; a rooftop bar called The

power plant.

Rooftop Pool-cuzzi, and Con-

Above one of the new-build

The terminal takes flight again due to the efforts of Beyer Blinder Belle, an established firm of architects and planners. Their vision for this icon of modern architecture restores our faith in the future, with a clever adaptive reuse as a place to stay, work, and

nie, a 1958 TWA Lockheed aircraft, which served as an Alaskan bush plane shuttling supplies to Prudhoe Bay and a marijuana dropper after retiring from TWA, seats 75 guests.

POOL A heated rooftop infinity pool and 10,000-square-foot

POP-UP EXHIBITS

observation deck offer unprecedented views of one of

Designed to be experiential,

the runways. From the infinity

the TWA Hotel has a Twister

pool, travelers can watch jets

room along with a number

take off and land. In winter,

of 1960s vintage cars parked

the pool can be heated up to

throughout the hotel, includ-

95 degrees.

ing a Fiat Jolly.

Guests can travel back in time through a number of interac-

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tive pop-up museum exhibits

FITNESS CENTER

curated by the New York

The hotel’s fitness center,

Historical Society, including

which is open 24/7, is the

an authentic recreation of a

largest hotel gym in the world

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cogeneration power system which runs on natural gas.

The property relies on this innovative use of energy to power the 400,000-squarefoot campus. The rooftop power plant also harvests

play. The guestrooms convey the glamour of 1960s flight.

wings sits a $15 million

wasted heat from the engines for hot water and uses an absorption chiller to turn some of that hot water into cold water. The hotel uses an industrial-size battery to store excess power and provide backup energy.

Models Anastasia Vilkova @vilkova_a Martina Karra @martinakarra Make Up DD Nickel @ddnickel Hair Susan Schneider vegasgirlwigs.com Art Direction and Stylings Richeille Formento @richeille Photography BJ Formento @formento2 53

Mathilde OScar Dystopia

MATHILDE OSCAR DYSTOPIA

MATHILDE OSCAR Mathilde Oscar was born in Paris in 1980, she lives and works in Cannes.

Photography was not an obvious thing for her, since her first medium was painting, which she practiced for years.

When she discovered photography in 2013, it was to transpose her pictorial ideas strongly inspired by the old masters of painting, romanticism and neo-classicism. This is how we find in her works this light and this particular atmosphere that make her photographs true paintings.

The making of decors, costumes and props is often added to his creative process, but sometimes some of his inspirations can emerge from a digitally created world.

She thus develops a unique visual art blending the codes of classical painting with photography and digital manipulation.

Very often anachronistic and offbeat, her portraits seem lost in an unknown space and time, with multiple references to the history of Art. His universe is then romantic and sometimes tinged with surrealism, where his characters, often feminine, proudly pose like charismatic Amazons.

Dystopia is a serie to pay tribute to nature and its insects and highlight their future on this planet.

At a time when bees are disappearing because of Man, how long will the human have the upper hand?

However, insects are much more numerous and more organized. Their total biomass would be 300 times higher than human biomass… they are small and yet they frighten us…

What if we live in perfect harmony? Or if on the contrary they took over humanity?

Mathilde Oscar has imagined, with «Dystopia», a post- apocalyptic future with Rococo hues, through images where beauty and «disgust» mix.

Get closer, this beauty is only a mirage because their perfection has already been stained by bites and dirt. An astonishing mixture that should provoke a paradoxical feeling in the audience!

Will you be disturbed, or will you be in admiration?

Perhaps entomophobes will be reconciled with their fears?

Photographer and director © Mathilde Oscar instagram: @mathildeoscar website: www.mathilde-oscar.com Animations 2D stories by © Fab Le Blanc instagram : @fableblancphoto

Apiculas (Bees)

Photography Mathilde Oscar Model Lucie Blanchard Makeup artist Céline Torelli Hair Stylist Aurélie Dievart

Cafarnaüm (Cafards)

Photography Mathilde Oscar Model Céline Torelli Makeup artist Céline Torelli Hair Stylist Aurélie Dievart

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Formica (Ants)

Photography Mathilde Oscar Model Iona Migdal Makeup artist Céline Torelli Hair stylist Aurélie Dievart

Muscas (Flies)

Photography Mathilde Oscar Model Lara Makeup artist Céline Torelli Hair stylist Aurélie Dievart

Sphingidae (Butterflies)

Photography Mathilde Oscar Model Laurie Rivière Makeup artist Céline Torelli Hair Stylist Aurélie Dievart

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BART RAMAKERS Bart Ramakers (1963) creates a new mythology for a new world with his picturesque scenes, statues and movies. He grew up in Belgium, at the banks of the river Meuse, in the shadow of the Van Eyck brothers, Rubens and Rembrandt – and choose to study history. From childhood, he drew, etched and painted, inspired by the Flemish Masters, by historical stories, classical myths, legends, baroque and romantic music and opera. His works reflect on the human condition and unfold new myths of beauty and power, passion and betrayal, sensuality and brutality, life and death, often with a slightly ironic, sarcastic or humorous touch.

The male/female relationships are often reversed, and Christian morality of suffering and redemption is replaced by enjoying an optimistic and generous love. Not suffering will save the world, but love.

Creating a better world is the common thread in everything he does, wether it is by writing his own version of the New Testament or by inventing Automats for a New World.

The traditional long-bearded God in Bart Ramakers’ globalised heaven joins forces with his male and female colleagues from all times and from all over the world, and even with the young goddesses of climate protest. Nudity for him is not inasmuch a matter of erotics, it’s the key to a world of truth, where nothing is hidden or conceiled. References to art history, film and literature are abundant. Bart Ramakers has published several books and exposes all over Europe. He regularly collaborates on projects with well-known artists from other disciplines and continues to evolve undaunted in his work.

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GARY SHERIDAN It was whilst studying photography at the University of Wolverhampton (2001-2004) in the UK that Gary found his passion for conceptual photography. His work draws on personal experience and his natural inquisitiveness in human behaviour. His work is influenced by multiple art forms ranging from the Fashion Photography of Guy Bourdin to Old Masters such as Diego Velázquez He constructs (often building sets in his studio) a series of work from a concept, or he will see images in everyday life that speaks volumes to him. Whichever method of construction he uses, he intends the images to be multi-layered and engage the viewer thoughtfully and aesthetically. His work is vibrant, beautiful, and seductive, with a vein of humour that runs through its body, just as life should be, yet life is not always a bed of roses and Gary’s work often breaks down the façade to reveal…

Gary’s work has sold worldwide and has gained international recognition winning prestigious International awards, recently including PX3 2020 - Paris Photo Awards and TIFA 2020 - Tokyo International Foto Awards. A collection of his limited-edition prints can be seen on his website www.iwondergallery,com

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Frida In Me - Self Portrait

The Tide Begins to Turn - Model - Gemma K Hadley

Stick a Pin in Me - Model - Gemma K Hadley

Yellow Brick Stairs - Model - Gemma K Hadley

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Waiting for Normal Service to Resume - Model - Gemma K Hadley

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T-Day - Model - Gemma K Hadley

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Rain on a Sunny Day - Model - Gemma K Hadley

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Two Little Ducks - Model - Zoe Yasmin

Going Under - Model - Zoe Yasmin

Loco - Model - Zoe Yasmin

Inbetween - Model - Zoe Yasmin

Three of Me - Model - Gemma K Hadley

Gemma at her Mirror - Model & Collaborator - Gemma K Hadley

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The Assassination - Model & Collaborator - Gemma K Hadley

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I Smell Freedom - Model - Gary Sheridan

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Panic Room - Model - Gemma K Hadley

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Temporary Reprieve - Model - Zoe Yasmin

Reflection of Yesterday - Model - Gemma Hadley

sebastian magnani Portraitist and Visual Artist Sebastian Magnani, born 1985 in a small village surrounded by mountains, Canton Valais/Switzerland, met photography in 2006. But it was in 2011 that he decided to leave a traditional job at an advertising agency to follow his dream. Now he is based in Zurich/Switzerland and his works are everywhere: Apple, The New York Times, Die Zeit, Der Spiegel, ABC News, BBC News, The Guardian and many others, and he has won countless awards.

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Big Brother is watching you

Sightseeing

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Practice

Stood Up

Coffee and News

Cigar and Chess

Cigar Lounge

After Work I

Summertime

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Cotton Candy

Vitamin D

Gymnastic

Happy Birthday

Work Life Balance

American Dream

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DAMIEN CARNEY Featuring

Elena....

Extraordinary. Visionary. Breathtaking.

These are just a few of the adjectives often used to describe the creative genius of Damien Carney. Undeniably one of the most accomplished hairstylists in the last 20 years, Carney has elevated hairstyling into an art form through an impressive body of work.

With a keen eye for detail and the ability to showcase a person’s natural assets, Carney has amassed a portfolio reflecting a virtual “Who’s Who” in fashion and beauty. Music and film stars such as Ryan Gosling, Grace Jone, Olivia Munn, Krysten Ritter, Beth Riesgraf, Trudie Styler, super models including Abbey Lee, Magdalena Frackowiak, Liberty Ross, Jodie Kidd, and Karen Mulder are just a few of the “A - List” celebrities and tip models who turned to Carney to create their image-defining hairstyles.

In a career woven with honors and accolades, Carney’s high notes include being voted one of Modern Salon Magazine’s “50 Influential Hairdressers - Trendsetters” in 2008. In 2009, Carney was a finalist in the prestigious AIPP Coiffure Hairdressing Awards in Paris, honoring artistic achievement in internationally acclaimed hairdressing. He was a finalist in the 2007 NAHA Award category of “Contemporary Classic” and received considerable world press as winner of the British Hairdressing Award, “Men’s Hairdresser of the Year.”

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Carney has also been honored to judge the prestigious NAHA Awards. Passionate about giving back to an industry he loves, Carney designed a mask for auction at City of Hope’s salon industry event, “Spirit of Life Dinner and Masquerade Ball - 2009.” He was pronounced “International Stylist of the Year” at the 2012 Mirror Awards (produced by Canadian Hairdresser Magazine) - a coveted title which honors those select hairdressers who stand as mentors and inspiration for hairstylists worldwide. Carney was also named “International Stylist of the Year” at the 2013 Black Beauty/Sensationnel Hair Awards for the unsurpassed texture and detail work of his “Saturne Noire” collection. Damien was named the 2017 North American Hairstylist of the Year by the Professional Beauty Association.

A natural in front of the television camera, Carney has appeared on ABC, NBC, QVC and a Certified Presenter and and as lead stylist on America’s Next Top Model.

Bravo Network celebrity, Tabitha Coffey - “Tabitha’s Salon Takeover” - specifically chose Carney’s work for many of her latest book photos and was the stylist of choice to design her hair for extensive fashion shoot.

Carney was thrilled to accept the role of Emcee for the International Fashion Theater at PBA’s International Salon & Spa Expo in Long Beach and Midwest introducing industry icons.

Throughout his career, Carney has globally collaborated with photographers Gilles Bensimon, Ellen von Unwerth, Norman Watson, Rankin, and David Slijper.

His work has graced the pages of international publications ELLE, Vogue, Harper’s Bazaar, Marie Claire, W, and GQ. Carney was honored as on-set stylist for the Movember ad campaign shoot. The funds raised through Movember’s US campaign benefit the Prostate

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Head Piece by Lory Sun Artistry at www.lorysun.com Skirt by The Danes New York at www.thedanesnyc.com

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Cancer Foundation (PCF) and LIVESTRONG, the Lance Armstrong Foundations, to promote cancer awareness and research. Kevyn Aucoin Cosmetics turned to Carney’s luminous talent for an ad campaign shoot.

He also was chosen as hair dresser for Loree Rodkin’s shoot launching her Men’s Eyewear Collection.

Demonstrating strong talent early in his career, Carney served as Artistic Director and Principle Trainer for one of London’s top hairstyling academies. Carney was tapped by creative powerhouse, Trevor Sorbie, to join his legendary Covent Garden Salon. Not only did Carney enjoy mentoring with one of the industry’s most prolific artists or all time in Sorbie, he worked in the salon with industry icons Eugene Souleiman, Vivienne Mackinder, Ruth Roche and Antoinette Beenders, as all were developing their own skills. It was there, in the fertile ground of unbridled creativity, that he achieved the position of “Principle of Education” and in turn received the training of a lifetime.

In 2006, Carney channeled his passion for education into establishing Damien Carney London, a modern, mobile hairstyling and photography academy with satellite offices in London, New York, and Los Angeles.

Through his vision, Carney inspires artists around the world to take hair design to the highest level of creativity and excellence. www.damiencarney.com IG:damiencarneypro FB:damien carney professional

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Head Piece by Lory Sun Artistry at www.lorysun.com

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Skirt by The Danes New York at www.thedanesnyc.com

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Dress by Mola Walker at Showroomseven / @showroomseven Next page: Dress by Michael Fausto at www.michaelfausto.com

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(page 162 to 165) All clothing by Victor De Souza NY @ www.victordesouzany.com All Accessories by Erickson Beamon @showroomseven Hats by Kokin New York www.kokinnewyork.com Crystal Whip 0413 pic @ www.agentprovocateur.com Broach 0549 pic @. www.vostexfashion.com - Stockings @wolford www.wolfordshop.com

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Photography Damien Carney www.damiencarney.com Model Elena Sartison at Statemgmt NYC @elenasartison Creative Direction & Styling Nikko Kefalas @nikkokefalas Make-Up Joanne Gair at www.joannegair.com using Illamasqua (page 157-159) Joanne Gair at www.joannegair.com (page 160-163) Joanne Gair www.joannegair.com using ‘Demure Baroness’ (page 164-167) Victor dE Souza NY @victordesouza and @TATCHA skincare (page 164-167) Hair Adrian Gutierrez Creative Director for Free Spirit Salon @free_spirithair (page 157-163) Kirsten Brooke Anderson at Industry Salon (page 164-167) Assistant Rachel Bell (page 164-167) 169

Philip Pearlstein

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PHILIP PEARLSTEIN EXCLUSIVE I N T E RV I E W

BY ANNEYSA GAILLE

Anneysa Gaille: Having won

June of 1943, right after my

ing letters by hand, drafting,

prizes for paintings in Scho-

first year of college. Since I

and so forth. That came to

lastic Magazine’s National

had won a scholarship for

an abrupt end, and I was put

High School Art Exhibition

one year of college, I was

into basic infantry training all

which were then included

initially deferred for one year

over again! This time it was in

in Life magazine, I imagine

when I was first drafted at the

Florida and we were trained

that at the time you were

age of eighteen. So, I entered

in jungle warfare. It was awful.

very excited about your

the army on my nineteenth

Then we were sent to Italy to

future as an artist. Howev-

birthday, and they tossed

be casualty replacements for

er, a mere eighteen months

me right into basic infantry

the battle of Monte Cassino,

later, you were drafted into

training.

which was one of the dead-

the United States army.

What was going through your head at the time?

Were you thinking about how significantly your experiences in the army would affect your art in the

On the first day that you are drafted, you are interviewed.

I showed the man who was interviewing me the Life

there just as the battle ended.

So, we spent the next four months taking training—all over again!

magazine article and he was impressed enough that he

In the Italian countryside

made a note of it. Neverthe-

around Naples, I got caught

less, I was thrown into this

up in visiting all of these little

terrible, rough basic training

churches with artwork that

Philip Pearlstein: That article

for infantry casualty replace-

had been hidden while the

in Life magazine had color re-

ment. However, instead of

Germans occupied them and

productions of my two paint-

being sent overseas with

then put back in place. The

ings. One was an oil painting

the rest of the people I had

British Army had a unit of art

of a carousel, which was

trained with four months

historians with them; as soon

reproduced on half of a page.

later, I was sent to a unit that

as any of these towns were

Color reproductions were

did charts and diagrams of

taken over by the British Army

very unusual at the time. So, it

weapons for training pur-

and United States Army, they

was terribly impressive, and I

poses. So, I spent about four

would write little pamphlets

used it as a passport through

or five months working with

about all of the art, churches,

my army experience. It saved

men who had been profes-

and town halls. It was basic

my life.

sional artists and I picked

art education. Gradually, we

up all the tools of the trade

moved up towards Rome as

that I could, including paint-

the Germans retreated to the

future, or did you suspend any thoughts of futurities?

I was drafted in the army in 172

liest battles in Italy. We got

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1940, Merry go Round, 1940, Oil on board, 14x18 in. PPS753

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mountain behind Florence;

The head of the studio I was

December. They dumped

the group I was with was sent

working in, Ladislav Sutnar,

all of these rough sketches

to training—all over again!—

was a famous graphic design-

on my table and said, You’re

right outside of Rome. On

er with a reputation in Europe

going to make the final art for

weekends, I could go into

as well as New York and had

the printer for all of this. I was

Rome. For me, it was all a ba-

been a part of the origi-

an expert draftsman at that

sic education in art history as

nal Bauhaus movement in

point and spent the next few

well as being a soldier! It was

Czechoslovakia. However, he

weeks drafting with Buckmin-

a weird experience.

got stranded in New York and

ster Fuller sitting at my elbow,

became the head of Sweet’s

explaining what all of his

Catalogs for the building

designs were about.

When I got out of the army after the war ended, I went back to college in Pittsburgh before moving to New York because I wanted to get into advertising art. I had all of these skills from my time in the army and while in college, I had actually worked on catalogues for the Alcoa Aluminum Company. So, that became a basic part of my portfolio for getting work in New York. I got a job at Sweet’s Catalog Services, working on a catalog for American Standard Sanitary Equipment that featured urinals, etc. for institutions.

They cataloged hundreds of companies that did work for the building trades. As I said, I did work mostly for the sanitary stuff.

industries. Because Sutnar was so famous, he always had all of these visitors in his office. One day Buckminster Fuller, who was a very famous designer, came in and was absolutely broke. He had no money and wanted to sleep in the office. Instead, Sutnar hired him to do a little catalog as a special gift to the Sweet’s Catalogs customers for the holiday season because it was November. Sutnar and Buckminster disappeared into the office for maybe an hour. They came out with all of these rough sketches for a little booklet to be called something like ‘Transportation and Communication for the Next Fifty Years.’ This was 1949, and it had to be ready for the printer in time to be sent out as a holiday gift in

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Buckminster Fuller also wrote an essay to accompany the publication, but the people in charge of the catalogs read the full essay written by Buckminster Fuller and couldn’t understand it. So, they asked me to put it into ordinary English. Thankfully, I happened to have worked my way through some of Ezra Pound’s The Cantos and recognized that Buckminster’s essay had been written in that style. So, I was able to translate it into ordinary everyday English so that Sutnar and the guys at Sweet’s Catalogs could read and understand it. At the end of this crazy project, they congratulated me on what I had done. Ladislav Sutnar was teaching at Pratt Institute and

1952, Superman, Oil on canvas, 40x36, col. MOMA, 1952

175

said, You’re obviously smart.

champ’s famous urinal sealed

Most art students in America

the deal on the subject. So, I

don’t have enough of a knowl-

went into that.

edge of the humanities. You should go back to college. I

About six months later, the article was followed by my

Picabia died right when I

first one-man show at a

had gathered all of the initial

co-op gallery on 10th Street,

information together, and the

the Tanager Gallery. Most

editors of the art magazines

people in the art world were

contacted the Institute of Fine

centered on 8th street, more

Arts, where I was studying,

or less, but de Kooning and

and asked if anyone knew

Franz Kline lived next to this

That led to me doing an MA

anything about Picabia. I had

little gallery. I knew most of

thesis on Francis Picabia

enough information, and I

these really well-known artists

and Marcel Duchamp. They

wrote an article. The article

at the time and they accept-

worked more or less as a

had to include Duchamp as

ed me; I became a part of

Dada team and had pub-

well. At the time, they were

the community of the 1950s

lished a magazine with the

both unknown to the general

avant-garde art world, paint-

address of an art gallery as a

public.

ing abstract expressionism

had time left on the GI bill, so Ladislav Sutnar said that I could go back to college, study art history, and work for him part time.

name—291. In this magazine, they used illustrations from industrial catalogs such as the one I was working on with Sutnar! The one that struck me the most and led me to take them as the subject for my MA thesis was a picture of an automobile spark plug from the early nineteen-hundreds. It was labeled, “Portrait of a Young American Girl in a State of Nudity.” I thought, Wow! This is terrific! It coincided with my own everyday experiences with working on the catalogs. Of course, Du176

a writer!

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like everybody else.

While I was working on the article, the editor who had

I won a Fulbright fellowship

asked me to write the arti-

to Italy in 1958. We spent the

cle, Hilton Kramer, suddenly

year in Rome, and I began

switched magazines. So, the

doing drawings of the Roman

article got published in this

ruins, which I knew from my

new, glossy art magazine

wartime experience. I was

called Arts Magazine that

making very, very careful

was the first of its kind. My

drawings of them and then

article appeared in it with full

painting them in an abstract

page illustrations and took

expressionist manner over

up four or five large-scale

a realist under drawing. I

pages. Since it was the first

thought they were pretty

issue, everybody in the art

good! But when we came

world in the early 1950s saw

back to New York, the art

it. Suddenly, I was famous as

world had changed. It was

1969, Seated Nude on Green Drape, Oil, 60x48, 1969.

177

incredible! When we got back,

interested in. But I became a

I was probably most influ-

abstract expressionism was

friend of Mercedes, who also

enced by Franz Kline. His

dead as a doornail. It was

taught at Pratt Institute. She

compositions were these big

as if a government decree

started a drawing group work-

movements and lines with

had been issued saying,

ing from models and I joined

huge brushstrokes across

No more! Even de Kooning

the group. It included several

large canvases. I saw these

wasn’t showing. It was simply

well-known artists—George

models taking those kinds

unfathomable; I don’t know

McNeil, Philip Guston, and so

of lines, but I was drawing as

what happened that year

forth—but it was mostly facul-

realistically as I could from

because I wasn’t witness to

ty members at Pratt. We met

what I observed, concentrat-

it. But suddenly, all of the

every Sunday evening a six

ing on the contours primarily

younger artists were making

o’clock and drew until twelve

and then making notes and

little electronic gadgets in a

in Mercedes’s apartment

watercolor washes of light

funny neo-Dada kind of way

downtown. The models were

and shade very brusquely. I

and color field painting had

students—not necessarily art

suddenly realized that this

also emerged. Everything was

students from Pratt Institute,

was a whole new style, that

exploding—all kinds of differ-

but wherever else Mercedes

this was something to follow!

ent ways of working. Nobody

was teaching as well—who

So, I did, and my life changed.

who worked in the abstract

were young and tired, men

My old artist friends from the

expressionist style could get

and women. Mercedes had

1950s thought I was turning

an exhibition.

this wonderful collection

the clock back. I became a

of kimonos and beautifully

villain to them and a hero to a

designed fabrics from around

bunch of young students and

the world; she would toss

artists.

Then, as we moved into the early sixties, I began going to a drawing group started by a woman named Mercedes Matter. She was quite well-known as an artist and a person. By that time, I was teaching graphic design— not painting or anything like

them on the sofa and these kids would just collapse! They weren’t taking poses—they were just collapsing, making themselves comfortable! That opened up a whole new world to me.

that—at Pratt Institute. To fill

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A part of this shift was also because, towards the end of the 1950s, I realized that most of the abstract expressionist artists who were then known on the art scene were army veterans who had

up my schedule, they gave me

I saw them as abstract forms

horrific experiences during

figure drawing, which I knew

and abstract compositions.

World War II, and abstract ex-

nothing about and wasn’t

I guess as an abstract artist,

pressionism was the perfect

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1971, Crouching Female Nude with Mirror, Oil on canvas, 60x48, 1971

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vehicle of self-expression for

He wasn’t in my class, but he

or largely negative about the

getting rid of all this stuff, this

was married to Janet Fish,

work itself. They didn’t like

emotionalism. But by the end

one of my students who was

the way I treated the human

of the 1950s, I was married,

a brilliant painter of flowers.

body—it was too explicit,

my wife and I had our first

Together, they were just

it wasn’t flattering, it wasn’t

child, and I was happy. I

remarkably intelligent. He

sexual, it wasn’t sex-orient-

couldn’t fake being unhappy

would sit in on these critiques

ed. I painted both males and

anymore!

with a lot of other students

females as well as different

who would come in, which

racial types. Some of my best

is how I met Chuck Close

models were black, which

and a few others. I remained

meant that my work couldn’t

friends with some of the

be shown in large segments

people in that group for the

of the United States. A couple

next couple of decades as

of riots even occurred at ex-

their careers burgeoned and

hibitions I had. One of these

I became well-known with a

riots happened at a show

very good career. I had noth-

somewhere in the Midwest.

The real turning point came when I taught figure drawing as a visiting artist at Yale one day a week. The students at Yale—it must have been 1962 or 1963—were brilliant. Within a few years, they dominated American art— they represented American art internationally as well. It included people like Chuck Close. They were working in all different kinds of styles as students. I had them drawing the figure. At the end of each drawing session, I would have them line up and I would give a little critique based on their assumptions about what they were doing. It changed my life and way of teaching. It’s hard to compete with brilliant students intellectually! I was

ing to complain about: lots of shows, one-man exhibitions in the United States and in Europe—France, Germany, Switzerland. I had a show in Germany that traveled around Europe and another in Malmö, Sweden that also traveled extensively. So, I became well-known—mostly as a rebel. Nobody really ever liked the work. I think they liked the fact that I had rebelled against something else and had gone my own way.

never an intellectual type, but

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I was supposed to go give a talk at the opening, but at midnight the night before I was supposed to make the trip, I received a phone call from somebody who didn’t identify themselves. The man said, You better not come here—people are protesting around the museum and there might be violence. So, I didn’t go to the opening. But I went for the closing! There was a barricade around the museum, and some of the

these kids were brilliant. Did I

The reviews I received would

paintings had been put into

mention Rackstraw Downes?

always end up being partly

a special little room. Even to

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1971, Two Female Models on Navajo Rug, Oil, 60x72, 1971

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get into the exhibition, people

Larry Rivers, and a number of

were! They were Hebrew!

had to show identification of

others had had other names

Not knowing what the letters

their age and get around this

that were recognizably Jewish,

meant helped me to identify

police cordon that were there

and they had changed their

the symbols. I was astounded

during the run of the show.

names as kids growing up

by this moment of illiterate

That was the most extreme

in the 1930s. I realized that

identification. It certainly was

moment, but my work was

I had kept Pearlstein as my

an interesting experience.

put in special rooms over and

last name—largely because

over again.

of that Life magazine article!

I couldn’t simply drop Pearl-

I became aware of the fact that the United States didn’t fit my image of what the United States was supposed to be. I kept being invited to give talks in different parts of the country, but there was a lot of hostility almost everywhere.

Somebody would stand up either during or at the end of it and ask a very embarrassing question, like Why is the New York scene dominated

by Jews and Italians? It wasn’t presented as a joke or in a

stein and use my middle name, which was Martin and hard to identify. I was also never actively involved in religious life. While I was growing up, my parents simply didn’t have the money to become members of a synagogue.

They hired a rabbi to teach me to read Hebrew, but he didn’t teach me to translate it. There was no translation!

It was just sheer memorization of the sounds of these symbols.

nice way; it was hostile.

Questions like that probably arose because most of the big critics like Clement Greenberg and Harold Rosenberg had Jewish names. A number of Jewish artists, by the way, had changed their names: people like Philip Guston, 182

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Somehow, all of this affected my painting. I can’t say why or how, but I have always approached painting in an analytic way. I’ve always worked from life, not photographs, because working from life is more difficult. It’s easy to trace figures visually from a photograph; it’s very difficult to do so from life. It becomes a game of relating points in space; so, my process more or less is establishing significant points in space first. After making that into a linear composition across the canvas, I go back and start

Years later, I went to Egypt

somewhere in the middle of

and made watercolors of

the figure, follow the contour,

a few more famous ruins. I

and wherever it bumps into

think it was at Abu Simbel

on the edge of the canvas I

that there was this big script

accept—everybody knows

across the top of the temple,

it continues. That becomes

which I began copying. Sud-

part of the design—a flat

denly, I could read the letters

design, not a spatial design.

and knew what the letters

So, I progress that way across

1976, Two Female Models on Eames Chair and Stool, Oil, 60x72, 1976

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the canvas with all of the

dent lounge was kidnapped

of Hanna Gray is. It is now

elements—the figures, the

by a student’s woman

hanging in a room called

objects I begin to add into the

group because, quote,

Hutchinson Commons, with

figures. The objects are odd-

“they said I had insulted all

very good security!

ball things from various cul-

womenkind with my por-

tures that I collected, starting

trait. She tended to look

with a lot of strange furniture

like George Washington.

and things that always had

But then it got returned.

interesting shapes. All of this

And then it was kidnapped

Somehow, I ended up paint-

creates an outline.

by a radical political group

ing about twelve retiring

who didn’t like Hanna

college presidents, mostly on

Gray or what she stood

the east coast of the United

for and they kidnapped

States. I suppose the publicity

the painting and photo-

the one of Hanna Gray got for

graphed the painting once

being kidnapped marked the

a week in a sort of insulting

end of that phase. I did them

place—against the sewer,

very gladly, though. Colleges

hydrant, garbage can, that

had a minimal amount to

sort of thing… It went on

pay, but I was really interest-

for about three months. It

ed in doing them because

finally got returned with

these people who had been

some passage from a novel.

college presidents were so

I couldn’t understand it…

interesting. Though I visited

It was written in flow pen

a number of campuses to

over the whole back of the

do the portraits, some of the

painting and eventually

presidents came to my studio

it will bleed through the

here in New York. I insisted

Speaking of storing paint-

front. There’s no way of

on doing them from life, not

ings, something I wanted to

eliminating it. I don’t know

photographs.

discuss was your portrait of

where it’s hanging now.”

Then, I continue developing each element the same way before working out the details. I keep adding until everything is complete with the model present. I never got rich because most of the money my paintings earned simply went back to paying the models who posed for me all during the painting session. But I did an awful lot of paintings; I have a warehouse full of them!

Hanna Gray, who was the president of the University of Chicago from 1978 to 1993. You have said that your portrait of Hanna Gray which once hung in the stu184

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That was a crazy incident!

The most significant one I Since I went to the Univer-

did was a portrait of a young

sity of Chicago for under-

man, Paul LeClerc, who

grad, I wanted to let you

retired from being president

know where your portrait

of Hunter College to become

1978, Female Model on Eames Stool, Oil, 48x60, 1978

185

head of the New York Public

Why is that?

Library. He, his wife, and I became lifelong friends. His wife, Judith Ginsberg, discovered that her family was from the same little town in Lithuania that my mother was from! She assumed—rightly or wrongly—that we were

I had bought an old stereo It was for a show called “Artists’ Self-Portraits” that was held in Chicago. Then, somebody else did another one guess I did two of them.

Then he went off to Italy and became a fashion photographer!

Yes, he spoke about how much you influenced his

the few people who was really

What kept you from doing

happy with his portrait. We

more self-portraits?

usually had Christmas dinner

work and life path. Sante D’Orazio and Italy reminds me of how you have said that, quote, “During the war

I don’t find my face very in-

years, I had concentrated

teresting! But I used a mirror,

on just making drawings—a

I also did portraits in water-

so my face in the mirror is a

kind of visual diary of my

color of all my neighbors

part of the painting as well as

everyday experience in

around Highland Lakes, a

myself outside, painting the

the army to send home.”

community in New Jersey.

painting. I had to get tricky! It’s

This quote came to mind

Many of them were people

on the website.

because Sante D’Orazio has become known for im-

who were interested in art or on the periphery in one way or another of the art scene.

Wonderful!

over the years. It’s a way of getting to know people. These portraits have almost become a separate body of work. I’ve done a good many—at least a third of my output has been portraits. However, I’ve only done one official self-portrait.

By the way, I read your interview with Sante D’Orazio, the

did or does making a visual practice you ever returned to?

photographer. Sante was a student of mine at Brooklyn College! He was a photography major, but he took a course in figure drawing with me and then became my studio assistant for a couple of years. We had a great time together and played around a

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age-based journaling. What diary mean to you? Is this a

I did portraits of all of them

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camera and fell in love with it.

later here in New York. So, I

cousins. He was also one of

at their apartment.

lot with stereo photography.

Essentially, that’s what my painting is all about. Those army drawings were done in a little army-issued aluminum spring binder notebook made for army office workers. I also used army fountain pens and army ink! They’ve lasted

1983, Model with Flowered Coverlet, oil 60 x 72

187

and haven’t faded. There are

I can no longer work in oil

That’s amazing. You have

about ninety-eight of them

paints. I’m now 97 years old,

said that, quote, “My inter-

now, I think, in the Morgan

with all of what happens: my

est remains in doing the

Library’s collection. I’m happy

fingers are all out of whack;

painting, and that’s what

they’re preserved there, but

I can’t hold the paintbrush

keeps me going. It’s a big

I still have all of the watercol-

the same way I used to. I’ve

puzzle beyond solving, but I

ors I did in the army scattered

stopped using oil paints and

keep looking for the solu-

around in my drawing draw-

I just concentrate on water-

tion. I’ve not yet arrived at

ers and cabinets.

colors. I’m working on small-

an ultimate painting, and

scale things now. I’ve had

I guess I never will.” I find

three strokes during the last

this proclamation to be

eighteen months, spending

particularly moving and

at least three weeks each

inspiring. What have been

time in the hospital. So, I’m

some of the most reward-

essentially an invalid making

ing parts of this journey?

That’s great. I’m also curious about the temporality of your other paintings.

How long do you usually work on a painting?

the best of it I can by doing a series of watercolors!

The process usually went on over a two- or three-month period, working a couple of days a week on each painting.

For many years, I would have

been able to do it.

How does the physicality of no longer using a paintbrush affect your process?

three paintings going a week.

I learned a lot painting in the early 1950s during that abstract expressionist era

Eventually, I narrowed it down

It’s the same. I’m just using

when de Kooning was every-

to two paintings, and in the

a conglomeration of ob-

body’s hero, because I did get

last decade or so, I further

jects from different cultures

to know him pretty well. He

narrowed it down to one

around the years, more or

lived in the building next door

painting that I worked on at

less how I have them grouped

to the co-op gallery on 10th

least four days a week until

in the studio. I’ve done about

Street I was a part of. I really

the pandemic when the mod-

two dozen so far this year.

didn’t know what his back-

els stopped coming. Now, I’ve

However, I don’t work a full

ground was except that he

just been working with the

day on them anymore; I only

was well-known as an artist

objects that I used as the sup-

work about three hours a day.

and I studied his paintings.

plements for the paintings;

But it goes on over a period

At the gallery, we took turns

they’ve become the subject of

of a month or so.

sitting behind the desk. He

the new paintings.

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The rewarding part is that I’ve

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very often would wander into

1988, Two Nudes with Animal Marionettes, Oil, 72x72, col. National Gallery of Art, 1988

189

the gallery, look around and

sleep—breakfast and all. I

one you saw as you walked

talk. The highlight of our rela-

had my own one-man show

out. The gallery was a small

tionship was one day when I

on the wall, and he said, Do

room; I think it was fifteen by

walked to gallery from where

you mind if I talk to you about

twenty feet—something like

I lived on Avenue A and found

your work? I’ve been looking

that. He stood in front of that

de Kooning sound asleep on

at it. He stood in front of each

painting and said, This is your

the steps.

of my paintings in turn with

best painting. He was just

me right beside him while he

beginning to paint his series

analyzed each one accord-

of paintings that he called

ing to how he thought I had

Marilyn, meaning Marilyn

done it and what I could have

Monroe, who was famous at

done to make it stronger in

the moment. He painted her

a sentence at the end before

in a sort of grotesque, Picasso

moving on to the next one.

form. So, maybe that I was

He drank heavily while he painted; all of the abstract expressionists did. They drank alcohol but they didn’t do drugs—drugs weren’t fashionable—and painted late

doing something recognizably

at night. So, de Kooning had I think there were twelve

all night before I arrived at

paintings up, most of which

the gallery. He was very often

were my abstract expres-

drunk, sitting on the curb just

sionist landscapes. However,

A few weeks after that, we

like the Bowery Bums were.

the last one resulted from

went out to coffee together

He would give them whatever

Mercedes Matter’s drawing

late one night with a group

money he had; he had very

group I had been going to

of other artists and I just

little money, but he would

with the models and it was a

happened to sit next to him.

hand it out.

painting of figures. I had seen

My wife then was pregnant

a photograph in the newspa-

and about to give birth. I told

per of a football tackle, so I

him that I had been having

decided to just refer to that

very strange dreams. This

composition but do it with

was about midnight when

nudes from memory, painted

we were sitting in the coffee

in an abstract expressionist

shop. He said, Oh! I’m very

manner. It was a big paint-

interested in dreams. I just

ing, about four or five feet

saw a play that was like a

high. It was at the end of the

dream. The play was called

exhibition, right next to the

Suddenly Last Summer, it was

door so that it was the last

an off-Broadway production

Anyway, de Kooning was sound asleep on the steps.

I crawled over him, got into the gallery, and was sitting behind our desk alone—nobody else came. It must have been about eleven o’clock on a Saturday morning when he walked in the door as if he had just had a good night’s 190

human was what attracted

been up painting and drinking

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him.

1990, Kiddie Car Plane, Airplane & Models, Oil, 60x72, 1990

191

by Tennessee Williams. And I

I never tried to live like that:

said, Oh! I just saw that too. I

after leaving the commercial

have been working on doing

art world in 1959, I always

the layout for a story in Life

depended on teaching for

magazine about it all after-

a living, which is how I sup-

noon. He looked at me, sat

ported my family. We finally

upright in his chair and said,

had three children; I had to

You must never tell anybody

put them through college

you can do work like that, be-

and all of that. The money

cause then they won’t want to

came from teaching at Pratt

help you!, by which he meant

Institute and then at Brooklyn

they wouldn’t be interested in

College with tenure.

buying my paintings. That was

just as a part of their ordinary curriculum, but the faculty was made up of famous artists—like Jimmy Ernst, the son of the surrealist Max Ernst, and Mark Rothko. The man who set the department up had been a part of the Bauhaus movement before the nar for whom I had worked.

me, but I never followed his advice on that. It taught me

How was teaching at Brook-

that the public really expect-

lyn College? I am current-

ed artists to live in a certain

ly an adjunct lecturer at

type of way, but my wife and

Brooklyn College, so I can-

I were expecting a new baby,

not help but wonder what

so we weren’t living like that!

it was like then and what

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Most of the students took art

war, along with Ladislav Sut-

an astounding moment for

192

your experience was.

He left just as I started teaching there, but he had set up the program assuming that most of the art courses were just a part of the curriculum for people who were going

1990, Models with Godzilla, etc., Oil, 96x60, 1990.

193

into public school education

thought, I don’t like this. So, I

at sixty-nine. I started teach-

and that it shouldn’t be aimed

stayed in the classroom and

ing there in the early 1960s

at trying to turn any of them

began teaching seriously.

and I retired in 1988. During

into real artists. So, we were

The kids loved it even though

that time, lifespans expanded

not supposed to be too seri-

they weren’t going to make

dramatically. Here I am at

ous. I was shocked!

use of it necessarily! I taught

ninety-seven! They all died in

two-dimensional design, page

their late fifties; almost none

layout, advertising design, and

of the artist I had known in

so forth.

the 1950s lived beyond the

After starting classes in the morning with some problem

age of fifty-nine.

that they would define, ev-

194

erybody on the faculty would

Within a couple of years,

leave, have coffee down in the

the older members of the

All of those things come into

cafeteria, and then go back

faculty began having heart

the picture. I’m lucky to have

and give a criticism of the art-

attacks, strokes, and dying.

had so many years of painting

work in a group critique. So,

The average age then of the

and to have realized to the

the faculty themselves spent

artists I was friendly with

fullest what I learned to aim

most of the three-hour class

was fifty-nine; the retirement

for.

having coffee in the cafeteria!

age at Brooklyn College was

However, I had been teaching

sixty-five. Those who made it

at Pratt Institute and Yale. I

to sixty-five would often die

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1996, Zepplin and Horses #2, Oil, 60x60, col. Meredith Long, 1996.

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1994, Male Model Minstral Marionettes, Oil, 60x96.

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1996, Zepplin with Horses #3, Oil, 60x48, 1996, PPS766

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2001, Two Models with Mummy Balloon and Toy Fire Engine, Oil, 60x48

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2010, Model with Speedboat and Kiddie Car Harness Racer, oc, 72 x 48, PPS738

2015, Model with Indonesian Mask, Oil on canvas, 36” x 40”.

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2015, Two Models with Three Masks and Turkish Rug, oil on canvas, 72 x 54

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2018-Two Models with Eames Lounge Chair, African Mask, Drum and Carousel Ostrich, Oil on Canvas, 60”x60”-PP16307

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2005, Models, Cast Iron Bed and Weathervane Airplane, #3, Oil, 60x72, col. Gillian and Simon Salama-Caro, 2005

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JURIJ TRESKOw Born in Belarus. At the age of 17 Jurij moved to Germany. In 2008 started doing photography in Berlin.

In 2009 he settled in Paris to become a professional photographer.

Treskow’s work is characterized by an intuitive sense of sexuality and attention to detail. In his mostly Black & White pictures, his favorite subject is a woman, a femme fatale – strong, confident and reckless.

Jurij lives and works between New York City, Los Angeles, Berlin and Paris

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Irina Lozovaya - KYIV 2021

Valeria Bulusheva - MOSCOW 2021

Natalia - Moscow 2021

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Natalia - Moscow 2021

Natalia - Moscow 2021

Ksenia Vinogradova - MOSCOW 2021

Ksenia Vinogradova - MOSCOW 2021

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Ksenia Vinogradova - MOSCOW 2021

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Natalia Ilyuk - MOSCOW 2021

Ksenia Vinogradova - MOSCOW 2021

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Nastya Nochnaya - KYIV 2020

Nastya Nochnaya - KYIV 2020

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Elen Dali - LA 2020

Elen Dali - LA 2020

Katrina Kruglova - NYC 2018

Natalia Ilyuk - MOSCOW 2021

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Vlada Shevtsova - MOSCOW 2021

HANA Solenthaler “My name is Hana Solenthaler. I was born on November 11, 1961, in Brno, Czech Republic and I live in Switzerland since 1983.

I was always interested in dancing, physical movements, bodies and human beings. This led to my profession as a movement pedagogue and inspired me as a photographer.

I`m a self-taught photographer and I learned always through trial and error. My favorite subject at the beginning was my family, especially my dad.

Thanks to our shootings we got a deep emotianal bonding.

I know, that I don`t take technically perfect photographs.

My photographer friends used to give me advice like: The shutter speed should be higher, stay a bit to the the left, the light is not good enough right now.

But then I realised that technically nearly everything became faultless or otherwise something was missing, for example the mood, the atmosphere. So I had to find my own way to take pictures.

I`m using two different Olympus OMD Cameras and a set of different lences. I don`t like to use a tripod. I`m perfectly fine managing all kind of up-and-down situations with my own legs.

Photography is pure poetry to me. It makes me feel alive.”

Hana Solenthaler

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renée JACOBS www.reneejacobs.com Renée Jacobs is one of the most celebrated photographers of the female nude of our time. Recipient of the prestigious International Photography Award for Fine Art Nude, her work has been exhibited and published around the world.

Monographs of her work include Werkdruck (2012/ Editions Galerie Vevais, edited and with an introduction by Jock Sturges); Renée Jacobs’ PARIS (2013/Editions Galerie Vevais) and Rêves de Femmes (2014/ Editions Bessard, selected by photo-eye as one of the “Books of the Year.”)

Magazines that have featured Renée’s work include Vanity Fair France, Elle Italia, PhotoVogue, Playboy Italy, Silvershotz, PH Magazine, Fine Art Photo, Nude Magazine, Photoicon, French Photo, B&W Magazine, Focus, FHM Turkey and numerous others. She has been featured in numerous anthologies, such as Taschen’s Mammoth Book of Erotic Photography.

Renée’s early photojournalism included assignments for The New York Times, Philadelphia Inquirer and many other newspapers and magazines. She received the Robert F. Kennedy Award for Outstanding Coverage of the Disadvantaged and her work is in the permanent collection of the John F. Kennedy Presidential Library. Her first book, Slow Burn: A Photodocument of Centralia, Pennsylvania was originally published in 1986 and re-issued in 2010 to favorable reviews in The New York Times Review

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of Books and photo-eye. After a 15 year detour as a civil rights lawyer, Renée returned to photography. An American, she now lives with her wife in the south of France.

“This is a book about Paris, about passion, and about pleasure. Jacobs’ depiction of femininity is both an ancient and a modern one, of women as free spirit – as free as any man. Like Romaine Brooks, Jacobs presents formal elegance, desire, and beauty all coupled within the allure of sexual magic. The joy sings through Jacobs’ lens.”

--Professor John Wood, from the Introduction to RENÉE JACOBS’ PARIS “Renée Jacobs’ work is the result of a very personal vision and interpretation of women. The female form is her intimate sketchpad. Life is a dream and Renée treats us to exquisite images that are a magical feast for the eyes of the beholder….[With her work, you] are walking past an open door and witnessing beauty ... Apparitions and fantasies, their story is left to our imagination . . . Leafing through the pages, you become a voyeur; you experience a guilty pleasure, un léger frisson, catching a glimpse of forbidden private moments.”

--Douglas & Francoise Kirkland, from the Introduction to Rêves de Femmes “Renée’s pictures have a combination of intensity and honesty that I don’t often encounter… She’s making the pictures because she wants to keep them fixed in her head and heart for all time. Her models trust her to tell the truth about them. And she does . . . The truth is of course half hers, a half that is rich in admiration, and affection. For their part, the models are licensed in the moment to be – without limit or constraint. I feel distinctly privileged to present this work to you as a singular example of what can be achieved in the photographic medium…”

-Jock Sturges, from the introduction to WERKDRUCK

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All photos are selections from Renée Jacobs two upcoming books, POLAROIDS and Renée Jacobs’ PARIS, both of which are open for pre-sales now and will be released in the fall concurrently with Renée exhibit alongside Helmut Newton’s Private Property.

Link to buy both books https://www.reneejacobs.com/webshop https://galerievevais.de/ 258

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