MASTHEAD Editor-in-chief: Jyoti Peswani: firstname.lastname@example.org Web consultant and expert: Andres Milman: email@example.com Assistant Editor: Louise Hendry: firstname.lastname@example.org Art Director / Graphic Designer/ Photographer: Kathleen Ross; Kathleenrossdesign@gmail. com ICON cover stylist: Fabiana Negron Style/ Caught on Campus covers stylist: Jackie Brennan: email@example.com Food cover stylist: Louise Hendry Contributing Photographers: Humberto Vidal Contributing Writers: Melissa Allen, Dana DiLeo, Nicole Fratantaro , Jessica Frazier, Louise Hendry, Maryline Schuler, Bayardo Sinclair and Kathleen Ross.
By Louise Hendry Photographs by Kathleen Ross
n December 2nd 2008, Naomi Campbell was walking the red carpet at Art Photo Expo’s retrospective show of her photos by the world’s top fashion photographers. The Art Photo Expo show took place in a 30,000 square foot makeshift gallery designed by Stephane Dupoux of Dupoux Design in a parking lot in the Design District. At the entrance of the exhibit, signs read “Naomi Campbell Retrospective” but the huge photograph on the façade was a closecropped headshot of Elson. I expect that Campbell was throwing more than cell phones at curator Patrick Remy! The Campbell exhibit was at the end of the gallery, when it really should have been the opening exhibit. It was shocking that an exhibit focusing on Campbell would feature such little of her work. There were just as many photographs of models Karen Elson and Coco Rocha. The gallery was divided into two sections; one dedicated to fashion photography (In Fashion Photo) and one specifically focusing on Campbell’s work. The fashion photographs were displayed on black “custom bus stop inspired structures” and illuminated in magentaspotlights, while Campbell’s work was displayed in a maze of hedges and tropical greenery. The photographs were stunning, no doubt, but highlights of the In Fashion Photo exhibit include Alix Malha’s underwater photographs of models in beautiful and ethereal gowns (“Meduses Roberto Cavalli”
get preferential treatment at h
her own expo!
and “Meduses Alexander McQueen”) and Simon Procter’s exquisite images of Chanel and Dior runways in historical buildings. Procter’s photographs were taken before and during the shows. The before photographs make you feel as though you are the designer seated in the front row, taking a deep breath and absorbing the magnitude of what is about to occur before pandemonium sets in. A surprise at Art Photo Expo was a small collection of Marilyn Monroe’s last photographs taken before her death in 1962. These stunning beautiful colored prints were shot by her rumored lover, Lawrence Schiller, on the set of her final film Something’s Got to Give, in which Monroe was supposed to have her first full nude scene in a swimming pool. The prized photo costs a whopping $25,000! When standing in front of a Naomi Campbell photograph, you finally realize what all the fuss that surrounds her is about: she is more than human, an Amazon, a Goddess carved from ebony, a supermodel. The most innovative and interesting photographs of Campbell were by Seb Janiak and featured Campbell as a robot. Could this be a cynical metaphor of the modeling industry guised by provocative styling? Divas take note.
“Paging Naomi Campbell!”
The Future of Art
Young glitterati descend on Gen Art: By Louise Hendry Photography By Kathleen Ross
itch the Delano, forget the Fontainebleau, the place to be at Miami Art Basel is the Gen Art Vanguard Official Party! The future of South Florida attended this party in everything from ripped leggings to fur shawls and bubble skirts: artists, writers, models and all the movers and shakers were all in attendance. Located at Charcoal Studios in the Design District, the side patio was elbow to elbow full of party goers and the party spilled into the gallery, where I heard a few gallery workers almost get into fisticuffs with revelers over smoking around the art work. The Gen Art Vanguard Official Party kicks off Art Basel for up and coming young artists and their fans. The art work is a change from the usual work seen on exhibit at Miami Art Basel as most of this art work is inspired by graffiti art and animation. Artists on exhibit at the Gen Art Vanguard New Contemporary Art Fair are more likely going to have a criminal record for defacing public property than a Bachelor’s in Fine Art from a NE art school; they are also most likely going to have a more loyal fan base and more freedom with their work than the wine and cheese crowd at the Bridge Art Fair a couple of miles away. Gen
Art Vanguard New Contemporary Art Fair “showcases cutting edge talent that is mastering the amalgamation of Fine Art and mainstream culture”. Featuring galleries from all around the United States and Canada, it was disappointing to see such a lack of regional identity; work from North Carolina looked like art from Los Angeles which looked like art from Montreal. Sponsored by FAGE Greek Yogurt, the exhibit featured a clay wall for viewers to leave their mark. The clay wall was supposed to resemble the yogurt. A FAGE representative tried to explain the relationship between yogurt and art to me: that yogurt is like a blank artists’ canvas that you can adorn with fruit, nuts, etc, as an artist would do with paint, pastels, etc. It was a struggle to keep my free sample of yogurt down when I heard this! A highlight of the show and the party was the indoor pool. Synchronized swimmers in 1960s inspired swimwear with floral swim caps performed with inflatable Bombay Sapphire bottles and mingled with the crowd serving gin martinis and cocktails. This was an ultimate magical Miami moment!
"The side patio was elbow to elbow full of party goers and the party spilled into the gallery"
Upping the Ante at The Art Basel By Louise Hendry Photography By Kathleen Ross
ove over Damien Hirst and Banksy! There is a new bad boy of art. Meet Gregory de la Haba, a New York City based artist. De la Haba of Gallery Privee exhibited his equine erotic collection,” Between Nothingness and Paradise,” at the Bridge Art Fair during Miami Art Basel 2008. Horses have long been featured in art work- Edgar Degas’s pastels of racehorses in the 1800s and Deborah Butterfield’s horse sculptures of found objects in the 1980s are a case in point. De la Haba uses taxidermies of horses to create installations. His piece de resistance is Equus Erotica- a ménage a trois of a black stallion with an erected penis rearing up on his hind legs before two “willing” white mares, adorned with sequined head dresses and garter belts. Critics have applauded this piece as being “political”- the black stallion representing Barack Obama and the submissive females as Hillary Clinton and Sarah Palin. My Bachelor’s degree in Fine Art from The School of Visual Arts alerts me
immediately that this is just a forced and pretentious connection. This piece is not about politics; it’s about shock and sex! I asked de la Haba what his inspiration was and his answer was honest: “gambling on horse racing and cabaret.” De la Haba, a Harvard graduate, has a history with horses and gambling: his grandfather established casinos in Puerto Rico, his NYC studio has a 14 foot craps table and he owned a racehorse in the late ‘90s. The pieces, including paintings and his “phallic” surfboards, are beautifully executed. Anyone visiting Miami Art Basel 2008 will be sure to remember his work; however the shock value does overshadow the simple fact that de la Haba is an amazing artist. In order to enter and remain in “the bad boys of art” club, de la Haba needs to find different subjects and themes. Horses have long been objects of fetish since rumors swirled that Catherine the Great was crushed to death in 1796 during intercourse with a horse and most recently Daniel Radcliff (Harry Potter) performed on Broadway in Equus, a play about a stable hand who falls for the horses he maintains. For more information on Gregory de la Haba, visit www.galleryprivee.com Artist Mark Jenkins of Los Angeles based Carmichael Gallery also featured horses in his collection on exhibit at the Gen Art Vanguard Show. While de la Haba focused on a fetish aspect of horses, Jenkins’ piece was process based. Jenkins created three small (a foot tall) sculptures of horses
created from everyday packing tape, they are hollow and translucent. Adding humor to the piece is golden nuggets of horse droppings. On Jenkins’ website www.tapescuplture. org, a step-by-step tutorial is available to those interested in creating their own tape sculptures. The only materials needed are packing tape, plastic wrap, scissors and the object you would like to cast. Warning! Do not try this on anything alive: cheating ex-boyfriends excluded! Step 1: Wrap the object in plastic wrap. Step 2: Tape over the plastic wrap with at least three layers of packing tape. Step 3: Make an incision somewhere on the object and create a seam. Step 4: Remove the object and tape up the scene. Step 5: Voila! Now you can exhibit at Miami Art Basel next year! Jenkins uses his tape sculptures to create street art and installations too. He dresses up his tape “people” in clothing and wigs and places them in public places to see peoples’ reactions or many times, the lack of reactions as people have created a tunnel vision while walking the streets in order to avoid conflict or interaction. Many of his figurines lie as if dead in shallow bodies of water, perched on the ledges of buildings and seated with homeless signs. His work has been seen on the streets of London, Washington D.C and New York City For more information on Mark Jenkins, visit his website at www.xmarkjenkinsx.com
"Horses, pop icons and adaptations of classical pieces of artwork, were a prevalent theme at Miami Art Basel 2008"
"Art: By Louise Hendry Photography By Kathleen Ross
Fashion’s Biggest Critic”
ashion and Art have had a long history: Yves Saint- Laurent’s Mondrian dresses of 1965, Richard Prince’s handbag collaboration with Louis Vuitton in 2007 and most recently Chanel’s Mobile Art Container featuring Chanel-inspired art work by 20 international artists: Miami Art Basel 2008 also featured art work, not only inspired by fashion but that used fashion techniques to execute pieces about fashion’s influences on women’s body images and not in a positive light at all! Montreal’s Martin Rondeau approaches his newest series “3818-33” from a fashion photography background. “38-18-33” (which is the measurements of a life sized Barbie doll) consists of large digital photographs of “Barbie” like women, completed with inflation devices, seen on blow-up sex dolls. What stands Rondeau apart from other artists whom feature women as Stepford wives and clones is his technique: Rondeau takes apart his photographs and basket weaves the photographs together. This basket weave technique not only adds innovation and originality to the photographs, it reinforces Rondeau’s message: these women of fashion photographs are not real, there is as much work and effort
invested in making them look flawless as there is in making these basket weave photographs. For more information on Martin Rondeau, visit www.espaceb51.com Denise Prince, one of Austin, Texas’ Top Seven Individual Artists of 2004, certainly made a fashion statement at the Bridge Art Fair at Art Basel. Oh, you didn’t see Denise? She was the artist wearing a full body black latex body suit and military camouflages, accessorizing with the latest designer AK-47. Prince told ICON that her latest performance piece, featuring her military uniform, is about the incorporation of the military into everyday life- soccer moms driving hummers, teenage boys wearing camouflaged cargo shorts, epaulets on designer blazers, etc: everyone wants to look and feel like a soldier, but nobody wants to fight and die like a soldier. For more information on Denise Prince, visit www.deniseprince.com Nothing says “welcome to the Miami Art Basel Gen Art show” like a needlepoint orgy on suspended plexiglass! Greek-born and Miami-
based, Eurydice Kamviselli’s has studied with pop art icon Roy Lichenstein and her work reflects her pop art background- media influenced, the use of text and a sharp wit. Eurydice’s pop art is not just meant to entertain: it addresses “the age-old equation between the bodies we look at and the marks we make to capture them”. Her work speaks for the millions of women sitting in their bedrooms crying as they pour over the glossy images of the ideal women seen in the media. Eurydice’s images come from magazines and are transformed onto plexi-glass in running stitch outlines of red. Collaged captions such as “shame” and “women” confirm Eurydice’s feelings about the struggle women face between wanting to be desired and wanting to be respected. Eurydice uses handstitching to “make the provactive images seem homemade because it is outside the public domain (it’s what forgotten old ladies and girls in sweatshops do)”. For more information on Eurydice Kamviselli, visit www. web.mac.com/ francescolocastro/popartstudios/ Eurydice_Kamviselli.html