The Women of New York: Meet Josephine Meckseper

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Josephine Meckseper comes from a family of artists, and she’s always known she was fated to continue on a creative path. Before moving to Los Angeles at a young age, Josephine grew up in Germany, attending political demonstrations and rebelling against the status quo — a nature that affects her art. She has long been fascinated by the voice of the people, and our interaction with consumerism. “You should never live in fear,” she wisely offers. Josephine’s life has been one of confident decisions.

In this film–one in an ongoing series of mini-docs created in partnership with Belstaff–Josephine describes the confidence and rebellion that have informed her life.

These are the “Women of New York.”

BlackBook and Belstaff Celebrate the Women of New York at Rosette

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Allison Sarofim, Rachelle Hruska MacPherson, Josephine Meckseper, Annabelle Dexter Jones, Ann Dexter Jones, singer Sophia Bastian

Monday night, Belstaff and BlackBook joined forces for a dinner at Rosette on the Lower East Side to celebrate the women of New York:  author Julia Chaplin, actress Annabelle Dexter Jones, Guest of a Guest founder Rachelle Hruska MacPherson, and artist Josephine Meckseper. As videos of the honorees were beamed from the cavernous bar area, guests enjoyed summery SVEDKA Clementine cocktails created for the event and named after each of the four women. (Not to play favorites, but the minty Rachelle was particularly tasty.) Soulful singer/songwriter, Sophia Bastian sang as attendees ate delicious, elevated, comfort food, family style. By the end of the night, attendees had spilled out onto the street, everyone eager to continue the party, even in the pouring rain.

BELSTAFF & BLACKBOOK Celebrate The Women of New York
Zac Sebastian and BlackBook’s Editor-in-Chief Jacob Brown

BELSTAFF & BLACKBOOK Celebrate The Women of New York
BlackBook’s Jon Bond and Annabelle Dexter Jones

BELSTAFF & BLACKBOOK Celebrate The Women of New York
Josephine Meckseper

BELSTAFF & BLACKBOOK Celebrate The Women of New York
Rachelle Hruska MacPherson, Ann Dexter Jones, and Annabelle Dexter Jones

BELSTAFF & BLACKBOOK Celebrate The Women of New York
Bibi Cornejo Borthwick and Maria Cornejo

BELSTAFF & BLACKBOOK Celebrate The Women of New York
Willy Moon and Alex Catarinella

BELSTAFF & BLACKBOOK Celebrate The Women of New York
Doug Keeve, BlackBook’s Publisher Hunter Hill, and Kate Bartel

BELSTAFF & BLACKBOOK Celebrate The Women of New York
Rebecca and Jon Bond, and BlackBook’s Editorial and Creative Director Evanly Schindler

BELSTAFF & BLACKBOOK Celebrate The Women of New York
Allison Sarofim wearing Belstaff

BELSTAFF & BLACKBOOK Celebrate The Women of New York
Sean MacPherson and Rachelle Hruska MacPherson

BELSTAFF & BLACKBOOK Celebrate The Women of New York
Belstaff’s Damian Mould

BELSTAFF & BLACKBOOK Celebrate The Women of New York
Svedka vodka

BELSTAFF & BLACKBOOK Celebrate The Women of New York
Svedka cocktails

BELSTAFF & BLACKBOOK Celebrate The Women of New York
Sophia Bastian’s performance

All Images: Angela Pham/BFAnyc.com

Reinhard Mucha Shows His Hidden Tracks at Luhring Augustine

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Bumbling around Chelsea can often be a dispiriting experience, so it’s a nice thrill when a show like this comes around. Through January 11, German artist Reinhard Mucha has a number of large-scale sculptures on view at Luhring Augustine. In press release lingo, his work is about “collective identity, memory, nationalism, the psychology of architecture and power, the museum as the locus for the creation of history, and the merging of industrial, historical and political landscapes.” (Deep breath). Maybe it’s because I grew up in New Jersey and was listening to the latest Real Estate album while walking through the gallery, but there’s also something decidedly nostalgic and downtrodden about Mucha’s materials, most of which look like they could have been culled from the wrecked interior of some shabby Cape Code in the Garden State.

What I like about Mucha’s “Hidden Tracks” exhibition is that I find it nearly impossible to clarify what I like about it, exactly. The closest I can come is to attest that these sculptures–part assemblage, part design project, part unfunctional furniture–seem like the product of a truly eccentric mind, fully occupied with its own codes and symbols. And yet the end results can stand on their own, before strangers, somehow communicating in a garbled way. In the back room, a large 2013 piece entitled Straight features rusty pipes, flashlights, an operative model train, and a number of boomboxes tuned to local radio stations. It’s enigmatic and compelling–personal and intensely hermetic without being pretentious.

In many ways, “Hidden Tracks” is the antithesis to Josephine Meckseper’s show, concurrently up at Andrea Rosen. (Gallerist’s Andrew Russeth rightly pegged it as one of 2013’s worst). Both artists work with the logic of the vitrine, with common materials, with systems of display. Yet Meckseper seems desperately intent on making art that looks like art, and ends up being oddly empty and highly superficial. Visit her show, and then stop by Mucha’s as an antidote, for an example of what art might look like when it’s made out of obsessive need, rather than market imperatives or an eagerness to please.

Reinhard2 Reinhard3