Produced by labelmate oG Swank, this video was released at 11:47 on 12/23/13, marking the one year anniversary of when Steez passed away.
As one of Steez’s last recorded videos, 47 Piiirates is comprised entirely of lost footage that was passed down to the KarmaloopTV team. It took a team of nearly 20 musicians, graffiti artists, videographers, fans and locals to bring this video to life.
TweetNike presents this exclusive “Laser Orange” edition of the Air Huarache LE for UK retailer size? The Air Huarache features a streamlined suede/mesh upper with multiple perforations for added breathability. It sits atop a molded white outsole and comes in laser orange with magenta and grey accents.
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Best known for her portraits of young girls in various stages of adolescence, van Meeneʼs photographs are characterized by their exquisite use of light, formal elegance and palpable psychological tension. Recently, the artistʼs portraiture projects have explored the use of animals as subject, whilst retaining the signature style and formalism of previous work.
In The years shall run like rabbits, van Meene presents a new series of portraits, often juxtaposing girls and dogs within the same frame, shifting the loci of the compositions to the spatial and psychic relationship between subjects. Not only does the combination of dog and girl evoke well-known motifs from art history, such as Velasquezʼs Las Meninas or Gainsboroughʼs Cottage Girl with Dog and Pitcher, it also plays with the dialectics of familiarity and distance, protection and weakness and the boundaries between human and animal.
The title of the exhibition refers to a lyric from W.H. Audenʼs poem, As I Walked Out One Evening, an elegiac ballad lamenting the inescapable passage of time: The years shall run like rabbits / For in my arms I hold / The Flower of the Ages, / And the first love of the world. Fittingly, girls from all stages of adolescent and post-pubescent maturity are represented here, and the portraits hint at a deeper psychological weight emerging in van Meeneʼs older subjects. Throughout the series, girls are often presented alone, seated or leaning on a single chair against an ecru toned wall. Van Meeneʼs younger subjects often engage the camera directly, displaying all of the hopes and confusions of youth. The artistʼs older subjects are knowingly more guarded in their gestural vernacular, often facing the camera while eschewing its directness, a complexity of mercurial energy teeming just below the surface.
Exhibition runs through to December 21st, 2013
Yancey Richardson Gallery
525 West 22nd Street
New York
NY
10011
The work in Home Truths: Photography, Motherhood and Identity aims to challenge long held stereotypes and sentimental views of motherhood. Set against a backdrop of the seemingly insatiable appetite for pictures of celebrity mums, streams of Instagram bumps and babies and a history of the Madonna motif in art history, the work hereaddresses changing conditions of power, gender, domesticity, the maternal body and familial relations. It is a critical space for the representation of mothers to exist aside from more reductive cultural assumptions of mothering.
As a theme often overlooked in contemporary art making, the work here is highly subjective, with a sense of seriousness and intense reflection. Much of the work also reflects contemporaneous impulses in photography to photograph everything, however seemingly inappropriate. Home Truths: Photography, Motherhood and Identity questions both the identity of the mother figure, but also the identity of photography at a time when the expectations and demands of both are in flux, and both subject and medium grapple for new meaning.
The exhibiting artists are Janine Antoni, Elina Brotherus, Elinor Carucci, Ana Casas Broda, Fred Hüning, Leigh Ledare, Katie Murray and Hanna Putz.
Exhibition runs through to January 5th, 2014
The Photographers’ Gallery
16 – 18 Ramillies Street
London
W1F 7LW
thephotographersgallery.org.uk
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Paul Reas is part of the pioneering generation of photographers who revealed and critiqued British class and culture in the 1980s and 90s. Strongly influenced by his working class upbringing in Bradford, Reas used humour and sharp observation to comment on a new corporate and commercial world epitomised by heritage industry sites, retail parks, and supermarkets.
I Can Help (1988), Reas’ seminal body of work, explores the consumer boom of the eighties with its American-style out-of-town shopping malls. Depicting employees and shoppers of the new middle class, Reas offers an acerbic revisioning of Britishness to create a powerful portrayal of Thatcherite Britain. Flogging a Dead Horse (1993) presents a nationwide survey of the emergence of the ‘heritage industry’: museums and theme parks such as Beamish Open Air Museum that offered a nostalgic and often commercialised version of the past in the wake of the collapse of heavy manufacturing and industry.
Exhibition runs through to March 8th, 2014
Impressions Gallery
Centenary Square
Bradford
BD1 1SD
Macaulay Culkin, the child star of “Home Alone” fame, has found a way to combine pizza and the Velvet Underground. He has a band called the Pizza Underground that covers the classic VU catalogue and other Lou Reed songs… but all of the songs are about pizza.
Documenting their live debut at Brooklyn’s Union Pool on November 9th, with some behind-the-scenes footage. They play songs from their demo, like “I’m Waiting for Delivery Man”, “Pizza Gal”, “All the Pizza Parties”, and “Take a Bite of the Wild Slice”.
thepizzaunderground.bandcamp.com
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