purple DIARY

: Art
Ryder Ripps GALLERY

RYDER RIPPS "HO" at Postmasters Gallery, New York

Ryder Ripps first solo exhibition, "Ho", features large scale oil paintings, portraits once removed, derived from the Instagram of model Adrianne Ho (300,000 followers) 
Ripps (6,000 followers) transforms self-portraits Adrianne Ho posts online into expressive, highly distorted pictures. Ho’s carefully staged, posed and styled photos are digitally processed, then painted. In creating striking, warped images Ripps strains techniques that are commonplace in the fashion industry to make models appear more “attractive” to the point of abstraction. 
Abstract passages referencing the heroic gestures of the Action Painters are generated through fingers moving across the decidedly unheroic touchscreen— the new site of aggression and anxiety in the age of the "virtual male gaze", where the archetypal macho painter has been emasculated. Photo Elise Gallant

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: Art
Raul de Nieves, Katiana Rangel, Tavish Miller, Hannah Gross and India Menuez GALLERY


"The Harmers" reinterprets Mozart’s "The Marriage of Figaro" as an experimental multi-media performance for text and chamber quintet. Focusing on the domestic strife of Figaro and Susanna, the piece recasts the mythic couple as a sedated housewife and a proselytizing hustler addicted to the deflated dreams of the American empire. The source text of Mozart’s opera has largely been jettisoned and/or fully absorbed into a new work with original music by David Zuckerman.

The piece combines an investigation of contemporary feminism in the digital era. Inspirations for the piece included excerpts from the Howard Stern show and a re-evaluation of contemporary feminist texts such as Lauren Berlant "Cruel Optimism", and selected works by Andrea Dworkin. Writer, Marianna Ellenberg, explores the female voice in contemporary media and post-internet culture.

"The Harmers" was performed at The Bar at the End of the Night 2 by Charles Mayton and Lucas KnipscherPhoto Elise Gallant

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