[July 31 2015] : LoveView the gallery
Summer pool parties are all the rage here in L.A. from Beverly Hills all the way up to Malibu. If you are not invited, no biggie as you will see it all on the Internet within seconds. “We are having a wonderful time and you are NOT here,” will be the message.
Back in the day, during the seventies, 1977 to be exact, I went to two or three pool parties every weekend. One warm summer day, my friend John Rockwell invited me to a party at this amazing mansion on Benidict Canyon in Beverly Hills. The mansion sat right directly behind The Beverly Hills Hotel.
There were all these people there who looked like there were... Read More
Text and photo Brad Elterman
[July 30 2015] : FashionView the gallery
In 2001 I did a personal unpublished project with model and friend Kirsten Owen at her house in Surrey, documenting her wearing every bit of ‘free’ clothing she had ever been given. Whether from a designer as a gift and payment for doing a show, from friends such as Stella Tennant, or from her mother who weaves and makes clothes, she had been given so much that it formed the basis of her style. Kirsten always dressed the same, then and now, very Kirsten, a unique art and crafts style combined with highly covetable vintage pieces from Helmut Lang and Marc Jacobs and Yohji Yamamoto, to name a few. I guess in a way this is a biographical fashion story.
Text and photo Paulo Sutch
[July 30 2015] : Art
Douglas Gordon and Tobias Rehberger’s Study for “Sébastien Lifshitz, Presque Rien, 2000, (2015) on show at the “After the After” exhibition on view until October 4th at the Museu d’Art Contemporani d’Eivissa (MACE), Ibiza.
Gérard Grandval’s spectacular but controversial Choux de Créteil (the Cabbages of Créteil) housing project was constructed southeast of Paris between 1969 and 1974 on an old cabbage farm, as part of Paris’s futuristic suburban “Villes Nouvelles” (New Cities).
The utopic architect built 10 white, 15-story apartment buildings in a cluster. Each was ringed with large balconies, which added living space to public dwellings. As if to anticipate green architecture, Grandval dreamed of plants growing from balcony to balcony, festooning their façades in greenery.
The créteil project directed by Gérard Grandval has become an icon of large-scale utopic architecture and of “new cities” concepts. The controversy concerning this architecture has basically ignored the intelligence — and even the poetry — of such historical architecture.
We shouldn’t fight the architectural history of “new cities,” delighting in one, regretting others. We should realize that the power of an architectural image is as responsible for its success as the conceptual intelligence and monumental value Grandval’s buildings offer those who live there; a recognizable urban sign is an important statement.
Choux de Créteil [the Cabbages of Créteil] is at the very least a recognized place to live. Everyone has his own idea about the petal-shaped balconies, which resemble ginkgo biloba leaves rather than the cabbage leaves of its nickname. The balconies were designed to support vegetation, which was never planted because the first developers were worried about the risk of residents not caring for them. Remaining bare, without their verdant decor, without their vegetalized surface, Grandval’s towers have nevertheless become iconic.
Nowadays, when we are shown a wall of greenery as a sort of panacea for urban anxiety, when we are asked to think that architecture dressed up in greenery is actually more appealing, it is quite possible that the earlier refusal or resistance to add vegetation to Grandval’s buildings has, in a curious, elliptical fashion, further validated the ancestral status of what we call green architecture. Large groups of buildings were surrounded by parks that now look flirtatiously at urban designers seeking density, but very few programs included a plant-covered façade overrun like the vines creeping over the ruins in Piranesi’s famous etchings. Grandval dreamed of a certain image. He seems to have...
You can now donate to Chloë Sevigny’s new film Slow Machine, a screwball thriller about performance and surveillance, on Kickstarter. Click here to find out more
[July 28 2015] : ArtView the gallery
Read our exclusive piece on Eileen Gray’s modernist villa E.1027 from Purple Travel magazine here
Photo Elise Gallant