Version 2.0: Here’s What We Loved at Frieze Los Angeles’ Second Edition

 

 

Frieze Los Angeles returned this past weekend, and in just its second year, the contemporary art fair spinoff of London and NYC has exploded into a full slate of lavish parties, expansive cultural programming, film screenings, celebrity engagement, music concerts, book releases, current affairs talks, political panels, fashion presentations, design gallery openings, off-sites, upstarts and hundreds of exclusive events reaching almost every corner of the city. Without a doubt, Frieze has brought a fresh jolt of creative energy to LA, and it’s clear the city is embracing a new forward-looking cultural role.

“My hope was that a successful fair could be leveraged to extend its energy throughout the city,” enthuses Executive Fair Director Bettina Korek. “Thanks to the tremendous support we’ve received from the city’s incomparable community of museums, galleries, and artist-run spaces, Frieze has taken root as an annual moment for visitors and locals alike to discover art in LA.”

The core of the fair took over Paramount Studios for four days of consecutive sold out crowds, with art aficionados mixing with the famous likes of J-Lo, Charlize Theron, Leo DiCaprio, even Miley Cyrus. Over seventy galleries from more countries than we could count offered the sort of expertly curated peek into the global art zeitgeist usually associated with. say, NYC, Berlin and, of course, Basel.

Watch this space—Frieze LA is only going to get bigger.

“I hope this moment continues to grow,” says Korek, “and that LA’s many art worlds will continue to grow with it in symbiosis.” 

For all the hobnobbing and people watching, for us, it was still all about the art. And here were our fifteen faves from Frieze LA 2.0.

 

Barbara Kruger, Who Buys The Con? (Questions)

Mural at NeueHouse, Los Angeles

 

Photo: Fredrik Nilsen

 

Tanya Bonakdar Gallery

Frieze Los Angeles

 

Photo by Casey Kelbaugh

 

 

Louis Vuitton, Objet Nomades

Off-Site at Milk Studios 

 

Photo by Brad Dickson 

 

William Eggleston, Untitled, 1973 

David Zwirner Gallery, Frieze Los Angeles 

 

©Eggleston Artistic Trust/Courtesy Eggleston Artistic Trust and David Zwirner

 

Sadie Coles HQ, London

Frieze Los Angeles

 

Photo by Casey Kelbaugh

 

‘Interior Motives’ 

Short Film by Natalie Shirinian Screening at NeueHouse for NHxFrieze

 

Film still of Michele Lamy (Rick Owens), courtesy of NES Films

 

Conversations on Patronage: Re-Imagining the Community through the Arts Presented by Destination Crenshaw 

 

Photo by Casey Kelbaugh

 

Commonwealth & Council

Frieze Los Angeles

 

Photo by Casey Kelbaugh

 

‘Always I Trust’ (2014) Screening of Film by Cheng Ran 

Frieze Projects, Paramount Theater

 

Film Still, courtesy of the artist

 

“How We Got Here,” art discussion panel with artists Arcmanoro Niles, Jordan Nassar and Naama Tsabar, moderated by Arthur Lewis, Creative Director of UTA Fine Arts hosted by Artsy and UTA Artist Space

The West Hollywood EDITION

 

Image courtesy of UTA Artist Space

 

FRIEZE MUSIC – BMW presented performances, co-curated by Kevin McGarry and Hans Ulrich Obrist, including: Moses Sumney, Caroline Polachek, Zsela and DJ Uwuqi 

Neuehouse LA

 

Photo by Lucy Sandler

 

Patrisse Cullors‘s Fuck White Supremacy (2020) Interactive Dance

Paramount Studios NYC Backlot

 

Photo by Casey Kelbaugh

 

Barbara Kasten’s Intervention

Frieze Projects

 

Photo by Casey Kelbaugh

 

Lucio Fontana Walking The Space: Spatial Environments, 1948 – 1968 

Hauser & Wirth DTLA

 

Ambiante Spizale con Neon, photographed by Fredrik Nilsen. Courtesy Fondazione Lucio Fontana, Milano and Hauser & Wirth.

 

DIALOGO: The California-Mexico Design and Architecture Dialogue, Curated by Monica Calderon, Adam Blackman and David Cruz with Book Release for Mexico City Architects Ezequiel Farca + Cristina Grappinat at Blackman Cruz

 

Works by Ezequiel Farca + Cristina Grappin, Image Courtesy of Ezequiel Farca + Cristina Grappin for Blackman Cruz.

 

Hear No Evil: Sigur Rós’ Jónsi’s Debut Solo Exhibition is a Provocative Sensory Experience

Jónsi, Í blóma[In bloom], 2019 Photo by Jeff Mclan, Courtesy of the artist and Tanya Bonakdar Gallery, New York / Los Angeles

 

 

If music is your religion, let Sigur Rós be your church.

The Icelandic band’s post-rock-orchestral-ethereal-angelic-atmospheric-avant-garde aesthetic has made them the world’s biggest cult phenomenon. Our devotion began with 1999’s  Ágætis byrjun, and they have rewarded that devotion with much sonic bliss.

Jónsi, the band’s enigmatic frontman, is continuously creating multiple entry points to experience their artistry beyond their seven studio albums and life-altering live performances. To wit, there was the interactive video installation with London’s Tate Modern in 2016, the 2018 co-launching of a new ambient album, Liminal Sleep, with popular mediation app Calm, the sound bath-meets-art installation at Neuehouse in Hollywood earlier this year…

 

 

Never mind collaborations with Doug Aitken, Olafur Eliasson, and Merce Cunningham, and his new project with Swedish composer Carl Michael von Hausswolf called Dark Morphin which the two chronicled and morphed their field recordings while aboard a research ship – and then performed it live at this year’s the Venice Biennale.

Now rising to new conceptual heights, on view at Tanya Bonakdar Gallery Los Angeles, Jónsi has installed a series of three new works inspired by the Romantic poet Goethe’s fifth Roman Elegy. Goethe made the connection between the experience of a lover’s body and a classical marble sculpture with the phrase “I see with a feeling eye, feel with a seeing hand.” In Jonsi’s interpretative remix of this profound expression, he gives it a sonic update, encouraging those who connect with it to “hear with a feeling ear, feel with a hearing hand.” For Jónsi, the constant has always been, “hearing is feeling is seeing is being.”

 

Jónsi, Hvítblinda [Whiteout], 2019, Photo by Jeff Mclane, Courtesy of the artist and Tanya Bonakdar Gallery, New York / Los Angeles

 

In Hvítblinda [Whiteout], the most powerful of the three installations, it feels as if you’ve walked into a Zero G, Futurist, ozone scented, sound womb environment, under light arrangements that pay homage to the Los Angeles Light & Space movement of the 1960s. What makes this experience unique is the 12-channel sound system of ten invisible speakers and two subwoofers, radiating recordings of Jónsi’s other-worldly voice, combined with field recordings of natural elements.

While inside the space, it’s a full 360 degrees experience, where the walls and floors rumble and vibrate. Your shoes must be covered as to (respectively) not bring the outside world in, your speech silent as to not interfere with the enveloping “5-piece act of sonic manifestations” – and two stark white cubes invite you to sit or lay horizontal and fully submerged in the audio phenomena. If ever there was a temple of sound worship, this would be it.

 

Jónsi, Svartalda (Dark wave), 2019, Photo by Jeff Mclane, Courtesy of the artist and Tanya Bonakdar Gallery, New York / Los Angeles

 

Inside Svartalda (Dark wave), you are deprived of all senses except your hearing, which can be quite shocking after absorbing all that light. There is a canopy of eight ceiling panels that move in tandem like waves while hyper-directional speakers, with diffuse recordings of Jónsi breathing, whispering and reciting an old Icelandic poem about the sea. As you move through the darkness, the sound of his voice moves with you, and once you adjust, the faint scent of seaweed appears, convincing you that possibly, maybe the ocean is nearby.

While the other two rooms activate a yin/yang sensory exploration, Í blóma [In bloom] triggers more of an intellectual dive. Here Jónsi created a sound-based sculpture of 14 horn speakers designed to resemble a foxglove flower – which is described as being both highly toxic and therapeutic at once, a pleasure/pain principle infused into the theory of the overall installation. The blooming sculpture is enhanced with a series of butt plugs that provide a visualization for the fertilizing organ of the flower.

Jónsi, Í blóma[In bloom], 2019 Photo by Jeff Mclan, Courtesy of the artist and Tanya Bonakdar Gallery, New York / Los Angeles

 

Through the speaker sculpture, we again experience a take on Jónsi’s recorded voice, layered over field recordings of Icelandic birds and Foxglove flowers, with a hi-tech recording device used capture the electric impulse of the flowers’ petals and stems. He then translated the electric frequency into a hyper-rare composition. There is a peculiar scent in this room, which is described as “a combination of dead animals and sperm – meant to evoke associations with bodily decay and pleasures.” The artistic goal was to create a sonic mating call between artist and flowers, to invoke notions of pleasure/pain while offering concepts of cross-species communications.

In the overall, with this first solo exhibition, it appears Jónsi’s intentions were to create spaces that evoke the power of sound and feeling, three mini portals for humans to step into and away from outside world uncertainty, and reconnect with themselves and with something possibly higher.

 

Jónsi’s eponymous exhibition is on view at Tanya Bonakdar Gallery Los Angeles through January 9, 2020.

 

Jónsi, Hvítblinda [Whiteout], 2019, Photo by Jeff Mclane, Courtesy of the artist and Tanya Bonakdar Gallery, New York / Los Angeles

Inside ‘Rick Owens: Furniture’ at MOCA Pacific Design Center

You know him as the overlord of modern gothic fashion. But the much anticipated exhibition Rick Owens: Furniture at West Hollywood’s MOCA Pacific Design Center looks at his creations not meant for the body. The work presented include recent furniture, a new group of large scale sculptures, video and installations – alongside a selection of works by the late artist and musician Steven Parrino, whom the Paris-based American designer admired.

Owens launched his eponymous clothing label in Los Angeles in 1994, and has consistently drawn influence for both his fashion collections and his sculptural furniture from a vast array of art historical sources, which span modernist design, brutalist architecture, monochrome painting, minimal art, and avant-garde dance. His radical and spectacular runway shows function as a form of performance art, and often call into question preconceived and culturally constructed notions of beauty promoted by the very fashion industry in which he works.

But since 2007 Owens has applied a punk and anarchist sensibility to furniture design as well, creating stark and elegant forms out of marble, alabaster, bronze, ox bone, leather and plywood. And in addition to displaying works in Owens’ signature materials, the exhibition showcases the artist’s first foray into foam, rock crystal and concrete.

The show is produced by Michèle Lamy, Owens’ wife, muse “fairy witch” inspiration.

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Visual Artist Stef Halmos’ Insider Guide To NYC’s Chinatown

Stef Halmos is on the rise in New York’s visual art scene. Her signature plaster series “The Squishes” have been posting up like wild fire across social media and are being heavily collected by fashion darlings like Lisa Mayock of Monogram and Mckenzie Raley of Land of Women.

After attending art school in San Francisco, Halmos set up her studio in New York City where she continued her studies and since explored the process of molding winterstone with fibrous materials. With her newest show now up at Canal Street Market, Stef shares her insider tips on Chinatown’s classic gems.

T&T Plasticland is among my favorite stores in all of New York. Everything they sell is made of plastic, from gorgeous 6″ thick sheets to strange little bits and pieces. They also do fabrication work, and some of their sample projects are strewn about with no particular order. It’s oddly simple and comforting.
The fruit market at the corner of Mulberry & Canal is a magical, psychotic little place comprised of about 12 vendors…all with multicolor beach umbrella stands. Here you can be sure to find an assortment of magnificent fruit, all year round. The vendors and signs are all in Chinese. Sometimes I go and just take a wild stab at trying something strange I’ve never seen before.
Nam Wah Tea Parlor is the classic Chinatown spot for dim sum and overall wonderful food. It feels like an antique Chinese diner inside and the service is so fast it’ll make your head spin.
Mmuseumm is a tiny little hole in the wall museum that exhibits the “overlooked, dismissed, or ignored”. I think it is inside an old elevator shaft or something thereof. It only fits three people at a time and keeps strange hours. If you can catch it when it’s open, it is well worth a visit.
Canal Lighting & Parts has every kind of light bulb you can ever imagine. They’re all blended alongside kooky fixtures and bright neon tubes. It’s the filament equivalent of T&T Plasticland! I’m desperate to buy a ton of giant bulbs (some are up to 3 feet long) and create new work with them.
Stef Halmos displays her newest work beginning this Thursday, December 1st, through December 10th at The Canal Street Market, located at 265 Canal Street between Broadway and Lafayette, Open 11AM-8PM, 7 Days a week.

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London Design Festival: 10 Top Moments

Every September 375,000 fashion forwarded design lovers from all over the world pour into London to experience The London Design Festival. The festival is timed nicely to collide with London Fashion Week and is set up to reach every corner of the city.

The hipster east end neighborhood of Shoreditch offered up a fair of homewares from Norway to China, Central London’s vast Somerset House hosted the London Design Biennale (which represented commission works from six continents), the iconic Victoria and Albert Museum hosted the most Instagram worthy moments with works by Mathieu Lehanneur and in the SoHo District, Burberry set up shop with their Maker House . This exhibition paired their AW ’17 collection atop live installations with the collection The New Craftsmen. LDF does a tremendous job of celebrating London’s creativity and offering up an international platform that attracts artists, designers and fashion set attendees from over 75 countries. With over 400 events, installations, workshops, exhibitions and parties it can be a challenge to hit up everything but we managed to do it.

Here are the top ten moments.

Liquid Marble by Mathieu Lehanneur at the V&A.

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Photo courtesy of London Design Festival
French designer Mathieu Lehanneur presents his ‘Liquid Marble’ Installation at the Victoria and Albert Museum. The black surface appears both liquid and solid, evoking the rippling waves of an ocean as Norfolk House Music promotes a meditative state for visitors.

Maker’s House by Burberry 

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In partnership with The New Craftsmen, Burberry presents an exhibition and open series of activities to celebrate the craft and inspiration behind their AW ’17 collection. The New Craftsmen have curated some of the most talented artists, designers and creators who are dedicated to producing the best of British culture, artifacts and craft methods.

Light Pollination presented by Iguzzini

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Photo courtesy of London Design Festival
Commissioned by iGuzzini, Light Pollination consists of 20,000 LED lights embedded on the ends of fibre-optic cables. Visitors wave phones over the cables which influence the behavior of the LED lights, mimicing the phenomenon of bioluminescence in nature. The public art installation open up a conversation about how digital media is influencing how we can use lighting in cities.

Studio Martyn Thompson Rock Pool Installation 

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Photography by Martyn Thompson 
Fashion Photographer turned designer, Martyn Thompson premiered Rock Pool Installation, a collection of textiles celebrating the unknowable sea and the unending shift of ideas. Abstract shapes and shadows form to reflect the motion, rocks and waves of the ocean. These patterns are created from Martyn’s photographs and celebrate his love of the “accidental.”

Somerset House (Austria) LeveL by mischer’traxler

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Photography by Ed Reeve
Austrian design representative mischer’traxler’s kinetic light sculpture deftly balances when visitors are completely still in its vicinity. With perfect stillness, the lights are brightest, illuminating the room fully. Any disturbance made the rods tilt and LEDs dim.

Glithero presents Green Room at the V&A

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Photo courtesy of London Design Festival
Green Room is a dramatic installation at the V&A, conceived by London design studio Glithero in partnership with luxury watch maker Panerai. The “room” is a kinetic piece comprised of 160 multicolored silicone cords that wrap around a six story stairwell on the west side of the museum.

Porta Romana‘s Cosmos presented at Focus at Design Chelsea Harbour

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Photo courtesy of Porta Romana
The celebrated UK design studio’s post future, space punk lighting install inspired by outer space, moons and planets. The pieces were created by rolling blown glass into crushed glass for a crystalized outer shell.

Somerset House (India) Chakraview curated by Rajshree Pathy and Sumant Jayakrishnan

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Photography by Ed Reeve
Ancient myth and modern design intersect in curator Rajshree Pathy and scenographer Sumant Jayakrishnan’s stage-like spectacle, Chakraview. Visitors are immersed in circular forms, traditional textiles and ancient mythology that weave together a sense of modern India to explore the continuities between India’s past and future – myth and reality.

Voutsa Pop Up by Voutsa at Clerkenwell.

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Photo courtesy of Voutsa
Known for his vibrant patterns with wall coverings, clothing and homewares, New York City’s Voutsa brought his traveling pop up to Clerkenwell. This front room installation included his fashion collaboration with Paul Marlow Studio, a made-to-measure atelier which includes a repertoire of silk robes and kimonos, caftans and tunics, scarves, bandannas, and swimwear. Also on included were home accessories created from select Voutsa hand painted patterns in the form of pillows, tote bags, lampshades trays and throws.

 

The Smile by Alison Brooks

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Photography by Ed Reeve
Architect Alison Brooks’ Landmark Project for the London Design Festival could be described as an unidentified flying object. The upside down arc made entirely of tulipwood takes the shape of a smile in this grand urban pavilion. The four sided curved tube that curves upward to its two open ends, allows light to wash across its curved floor like water across a spillway. This achievement creates an immersive environment that integrates structure, surface, space and light.

 

 

A Calvin Klein Ceramicist Hosts a One Day Pop Up Exhibition

Photography by Shanita Sims
Text by Sophia Haney Montanez + Elizabeth  Baudouin

 

In the age of digital media and short attention spans, Salon No. Living with Design is set up to view as quickly as your last Snapchat story. On Tuesday, September 13th, artist Romy Northover will host a one-day event to bring a new kind of presentation to fashion week. Here she will integrate a lifestyle and design element to the perpetual runway showings.  Happening just down the street from Spring Studios, Salon No. showcases Northover’s new collection in NES Creative‘s downtown loft to reimagine the space through her signature Ancient Future aesthetic.

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The inspiration for Romy’s new collection is gathered from a large catalogue of references including nature, literature, ancient cultures, and fashion. The influence of layered textiles, subtle textures and muted color palettes in fashion are revealed in the rustic yet refined designs.

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Prior to launching her New York based line No. in 2012, Romy lived and worked in London, graduating with a BA in Fine Art from Goldsmiths. She then lived in Hong Kong, Venice, and Berlin, creating video art, freelancing as a stylist and working for several fashion designers including fashion house PPQ.

Today, she is a regular collaborator with Calvin Klein’s team, where her ceramic vessels enhances the environment of the iconic brand’s retail stores. Romy has also designed collections for Kinfolk, Cereal Magazine, Alex Eagle, Soho House, and The Apartment by The Line.

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Northover’s point of view is immediately delicate and minimalist creating an intimacy with each piece. This thought is cast throughout her entire exhibition. “I want to create a stillness and allow for an openness for receiving,” says Romy. “A relaxed space where the work can be functional and be touched.”  Romy’s aesthetic reveals a new lifestyle, one that blends traditions of the past harmoniously with ideals for the future. And one that transcends the ephemeral trends that have become so common in the age of fast-fashion.

For more information on Salon No. please visit Romy’s Instagram Feed.

Meet the Artist Behind the Color Matching Collages on Miu Miu’s Instagram

If you’ve been following NYFW, chances are you’ve been refreshing your feed every two minutes. There’s one brand that offers more than runway shows and prep shots and that’s Miu Miu. Here you’ll find the fantastical color matching collages created by mixed media artist Beth Hoeckel. Produced exclusively for Miu Miu’s Instagram feed, Beth assembled an assortment of treasures to best suit pieces from their accessory collection in a reimagined way.

For example, seashells, pink frosted birthday cake, toast with jam and a strawberry daiquiri surround a new eco-shearling bag in coral. Additionally, cherries, a floppy disk, a fire extinguisher, and lifesavers come together to float around Miu Miu’s new Automne ’16 backpack for a most playful digital display.

Beth’s work extends passed fashion and moves across many editorial platforms including stories from publishing heavy weights like Conde Nast and Penguin Random House. With a new book in the works and an exhibition this fall, I was curious to learn more about her inspiration and background.

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How did you become interested in mixed media?

I started experimenting with mixed media techniques quite a bit in high school. I went to an arts magnet high school and mainly focused on painting and photography, and wanted to try combining the two. It also partly came from not being able to afford expensive art materials, and subsequently using whatever was around. I was very drawn to collage and mixed media artists like Robert Rauchenberg and Joseph Cornell. In addition to all that I’ve collected old books and photographs since back then and loved using those elements.

Where do you like to pull images from?

It all comes from vintage books and magazines, or any old printed material. My favorite era of National Geographics are from the late 1940’s and early 1950’s, I love old cook books with color photographs and random sewing and craft catalogs.

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What do you love about communicating with collage?

I love the familiarity of the found images in contrast with the surreal nature of the context I place them in. In that way it can be very relatable. In some ways I think it more readily allows viewers to draw from their own memories and experiences to construct a narrative than some other art forms.

Is there a particular thought you are projecting with your work?

There are several themes. Memory, nostalgia, being lost, getting lost, loss in general, bygone eras and their ideals, hope, longing, and daydreams.

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How did living in New York shape your work?

I moved there in 2001 right after graduating from SAIC (Chicago), I was only 21 and it was right after Sept 11 so it was a strange time. It was a struggle to say the least, I had to work a lot of jobs to pay the bills so I barely had time and definitely didn’t have space to make art. I tried to find ways to make money off of my work so I made cards and t-shirts and sold them to shops on Bedford and even sold them by myself on the streets on occasion.

Where do you find your inspiration?

In music from PJ Harvey, Bob Dylan, Patti Smith, Rimbaud, Paul Bowles- to be honest the book The Sheltering Sky has influenced many of my works over the years.

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Discover more work from Beth Hoeckel here.

Fashion Designer KXG Creates Wearable Art in Tropical Bali

Photography by Krishna Godhead
Text by Katherine Aplin

Tucked away in the dense jungle of southern Bali, KXG Artisanal flourishes into being. Heavy air pulses, warm and humid, pushing forward the creative process of partners in life and work, Katharine Grace and Krishna Godhead. Both of them Australian transplants, they met serendipitously in the mountains of Indonesia. Their instantaneous connection shifted their solo lives towards the manifestation of a shared vision and KXG was born.

KXG marries the harsh and the delicate, creating a relationship of symbiosis, each one feeding off the needs of the other. The expert draping of fine chiffons and silks is blended with the use of structured skins, always revered. An air of heightened craftsmanship flows through the garments, every piece becoming an utterly unique work of wearable art. What results is a collection that is supple yet severe and hauntingly beautiful. Emotion-evoking imagery then propels their creations even further as each photograph of Katharine, shot by Krishna, is not only visually stunning but capable of telling story after story.

The mention of Bali elicits thoughts of lush foliage and sun-drenched skies, but KXG oftentimes puts forth a grave aesthetic, using neutrals and B&W photographs. Can you speak to the contrast at play?

The savage nature of a jungle is a constant play of juxtapositions. Ancient, stoic remnants of temples stand silently in the thick and brutish jungle. The heavy heat of a constant summer maintains itself in the dark shadows created by dense vegetation. Throughout this harsh environment arises hand died raw silks, paper-thin exotic skins, and delicate artisanal hand embroidery. The environment is beautiful and barbaric, creating a dialogue that furthers our creations.

How does your creative process unfold?

After dialog reveals our direction of design, the dress form and experimentation is our next step, along with fabrication. Ultimately, the choice of material and method defines all. Whether we are sculpting a whole crocodile skin around a torso or draping, pleating, and pinning sheets of hand-painted organza, we find the process and evolution of the garment of the greatest importance.

Why is the act of ritual important to the ethos of KXG? 

Part of our structure and DNA is to deeply understand that within this world, there is already so much and of such high turnover, with built-in obsolescence. We make a limited number of unique and one off garments as our collections are small and specific.

We try to produce as little as possible in the way of excessive waste and to understand the toil that is imbued in each raw material, whether it be the loss of life in the skins of an animal, the excesses in the process and production of a simple cotton, or the staggering enormity in the yards of woven worm silk. Our ultimate desire is to produce limited pieces that are intensely personal and precious.

If you could dress anyone, who would it be?

Many women from varied disciplines inspire KXG: women who create, fight and inspire. Women of intelligence, desire and individuality and if to be more specific, fellow Australian Cate Blanchett epitomizes the essence of KXG.

Describe KXG in less than 10 words. 

Honor of sacrifice; create through humility

See James Turrell’s Earliest Work Now On View

Photography:Florian Holzherr

The Godfather of light and space, James Turrell began his journey in exploring the relationship between form and color back in 1966 after moving into a vacated hotel in Santa Monica, CA.  It was in these abandoned rooms that Turrell began experimenting with high-intensity projectors, using them as a tool to bend the eye’s perception and manipulate a space.  From this trial came Turrell’s first significant installation work of corner projections, using projected light as a medium to create the illusion of free-floating, three dimensional shapes suspended in the corners of a room.  Now on view through PACE Gallery’s 67, 68, 69 exhibition, this first body of work proves that even in his earliest stagesTurrell had the ability to create a transformative phenomenon with his artistic expression.

67, 68, 69 is on view at PACE Gallery on 57th St. through July 29th and simultaneously at PACE Gallery Palo Alto through August 28th.