Hiroki Nakamura presents his take on a classic hunting jacket as a part of the latest visvim drop. Featuring moleskin construction with a corduroy collar and the heritage-inspired aesthetic synonymous with the label, the piece includes a bevy of pockets and features details like a buttoned placket and reinforced shoulders. Available in four different colors.
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The collection’s major motif uses the eye, a traditional symbol of protection that promises to watch over those who wear it. This eye-themed capsule is composed of a lineup of T-shirts, sport-influenced sweatshirts, weighted knit sweaters, and other accessories , executed in rich hues of primary colors.
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The Serpentine Gallery and Diesel presented a stunning line-up of live acts for the second consecutive year of the Future Contemporaries Party tonight.
This annual fund-raiser for the Gallery’s young patrons took place on September 16th, 2013 in the Serpentine Gallery Pavilion 2013, designed by Sou Fujimoto.
Mutya/Keisha/Siobhan topped the bill, in one of their first performances since reforming; with a set list that included Overload, the song that launched their career, plus new single Flatline; which got everyone dancing against the backdrop of Sou Fujimoto’s cloud-like Pavilion. The trio followed an opening set by electronic duo AlunaGeorge.There were DJ sets from Horse Meat Disco, Yasmin Dexter and Hanna Hanra.
TweetIn Grays the Mountain Sends, Schutmaat skillfully documents the rugged landscapes and people of the great American West. The images describe a series of mining sites and small, hardscrabble mountain towns. Also portrayed are the people who have worked in them, built them, and a few younger people who might or might not, be looking for a way out of them. It’s this balance between the clearly ravaged land and equally devastated faces, with a few moments of youth, beauty, and the last glimmer of promises never truly fulfilled, that elevates Schutmaat’s work. His photographs, carefully controlled in both palette and structure, have a true regional twang. They evoke the wear and tear perpetrated on the land, as well as on the psyche of people who live there, with scant separation in one’s sense of the individuals and one’s sense of the place.
Exhibition runs through to October 31st, 2013
Aperture Gallery
547 West 27th Street, 4th Floor
New York
NY
10001
Widely recognized as one of the most prolific and respected photographers of the 20th century, Irving Penn began his photographic career in 1943 at the suggestion and encouragement of Vogue’s then Art Director, Alexander Liberman. The first color photograph Penn made on assignment for Vogue appeared on the cover of the October 1st issue that same year, he first still life cover in the magazine’s history – and Liberman immediately “sensed that we were in the presence of a major new vision, with infinite possibilities for growth and discovery.”
Penn developed that artistic vision over the next sixty years, shooting more than 150 covers for Vogue between 1943 and 2004 (a selection of which will be on view), creating celebrated portraits of leading cultural figures such as Pablo Picasso, Truman Capote, and Miles Davis, and producing groundbreaking fashion editorials noted for their natural lighting and formal simplicity. With an elegance and economy of composition, Penn’s 1950 pictures of the Paris couture collections revised the visual aesthetics of fashion photography, and the act of placing his subjects, whether a model in Balenciaga, a Dahomey native, or tradesperson dressed in work clothes, against a seamless, neutral backdrop without context or narrative became a signature trademark of Penn’s style. This approach produced photographs that focused on the subject, rather than the environment in which they might have been found. The deft craft of his still lifes transformed common objects into abstracted elements of modern artistic expression.
Exhibition runs through to October 26th, 2013
Pace/MacGill Gallery
32 E 57th St 9th floor
New York
NY
10022
Fascinated by the eccentricities of English social customs, Tony Ray-Jones spent the latter half of the 1960s travelling across England, photographing what he saw as a disappearing way of life. Humorous yet melancholy, these works had a profound influence on photographer Martin Parr, who has now made a new selection including over 50 previously unseen works from the National Media Museum’s Ray-Jones archive.
Shown alongside The Non-Conformists, Parr’s rarely seen work from the 1970s, this selection forms a major new exhibition which demonstrates the close relationships between the work of these two important photographers.
Exhibition runs through to March 14th, 2014
Science Museum
Exhibition Road
South Kensington
London
SW7 2DD
