Noah will be teaming up with Dover Street Market London for an exclusive capsule in its second season at the esteemed retailer. The brand revisits the subject of sharks in this marine ecosystem-centric theme by pointing out the gripping fear humans have of these majestic creatures.
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Easter is coming, so that means Inkymole will be dropping their Solid Chocolate Easter Eggs which have increased in girth and weight, 540gms/1.3lbs – the biggest ever.
– 9 Flavours:
Dark Chocolate / Milk Chocolate / Salted Dark / White Chocolate
Peanut Butter with Dark Shell / Peanut Butter with Milk Shell
Praline with Dark Shell / Praline with Milk Shell
Gluten, Dairy, Soy & Nut Free Egg
– 4 Vegan eggs
– 1 Allergen-free egg
– Hand-illustrated box
– Screen-printed ethical cotton tea towel with each egg
– Locally hand-made with three types of ethically-grown and sourced ‘Cocoa de Fino De Aroma’ from Colombia – a rare classification bestowed upon only 8% of the world’s cocoa
– Cocoa content ranging from 55% (allergen-free) to 70% (dark chocolate)
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Taken from the Harmony of Difference EP, coming this summer on Young Turks.
TweetUpon entering the exhibition space the viewer walks towards a long row of ten canvas sack sculptures – all hung in a single file along one wall of the gallery, each filled with arrangements of Chippendale-legs, some splayed, some demure. In his sculptural practice Schinwald has always been interested in the manipulation of pieces of furniture. He often uses Biedermeier table or chair legs, characteristic of a 19th-Century style. He saws them off and rearranges them in uncanny ways that bring out their anthropomorphic qualities. The half-hidden wooden parts stretch the fabric, which is reminiscent of the white cloth that is used to cover and protect furniture, thus creating weird and sexually allusive forms. The stretched fabric acts as both sling and cocoon, concealing joints and limbs that struggle as much as they acquiesce. Besides the row of sacks Schinwald also intervenes with the actual gallery space: The jigsaw-like assembly of large, interlocking metal panels that extend across the ceiling, are embossed with a pattern that creates the impression of a complex, suspended machine, a kind of exposed mechanical viscera. The metal mimics the bas relief gesture of Rococo stucco, curving and extending overhead, blanketing the entire space in a mildly aggressive red sheen and giving the whole show a slightly erotic touch.
In transforming the white gallery ceiling into a red tiled artwork Schinwald bestows a completely different atmosphere upon the room and makes a Gesamtkunstwerk of the space. At the entrance of the gallery, the ‘Jubelhemd” is displayed. One of Schinwald’s earliest works, is a fabric piece inspired by the tailored shirts worn by orchestral conductors. The altered arms force the wearer to keep their arms raised, a gesture that evokes both celebration and capitulation. Though the ‘Jubelhemd’ is celebrating its 20th anniversary, its ambivalent extremes seem particularly relevant in today’s political climate.
Opposite – Jubelhemd, 1997
Exhibition runs through to May 20th, 2017
Giò Marconi
via Tadino 20
I-20124 Milan
Italy
Works: 1968–1977 brings together, for the first time in New York, one Bleach Painting, five Constructed Paintings and a number of late 1960s pieces: all anticipate McCollum’s future work as much as they suggest the nature of his artistic practice at the outset of his career.
Allan McCollum was born in 1944 in Los Angeles, California, and lives and works in New York City. His work is also on display in Lost Objects at Mary Boone Gallery, New York from March 4th – April 22nd.
Opposite – Untitled, 1971
Exhibition runs through to April 29th, 2017
Petzel Gallery
456 W 18th Street
New York
NY 10011
In Ethridge’s photograph Untitled (American Spirit), 2017, a foreground of blurred roses gives way to a familiar scene of warm light emanating into the night from a window. As it comes into focus, tranquility is soon disrupted by Chinese characters, the after-effect of a computer batch edit, and the house is a backdrop, photographed in between takes on a fashion shoot. This acknowledgment of artifice is central to Ethridge’s practice, which takes equally from his work as a commercial photographer, and artist. Employing photographic tropes that span from still lives to portraiture, Ethridge blurs the lines between the two, creating images that are simultaneously generic and intimate, often treading between humor and cynicism. Functioning in tandem, these motivations coalesce into an ongoing investigation into the mechanics of photographs, and their ability to both retreat into the personal, and expand to relay collective experiences.
In a new series of collaged works titled Pic n’ clips, which borrow their name from a drawer of coupons cut and collected by the artist’s mother, Ethridge pulls from computer desktop archives of the same name built over the past 12 years. Contrasting this slow accumulation, blank swaths of photoshop canvas were populated in a task-like manner, generating nearly accidental networks of images. Printed in transparent layers, and further embellished with rich hues and flattened American Spirit packs, the works create new and unanticipated associations, as images follow the chronological sorting mechanism of the computer.
Opposite – Pic ‘n Clip 5, 2017
Exhibition runs through to April 8th, 2017
Andrew Kreps Gallery
537 West 22nd Street
New York
10011
