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Mesmerizing Runway Images from Tom Ford Fall 2019

The designer presented his collection once more at New York City's Park Avenue Armory, where he evidently returned to his roots.
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More than ever before it’s nearly impossible to separate art from artist. And if all art is inherently political, then so are all artists by nature—perhaps none more so than Sons of an Illustrious Father, the New York City artpunk trio comprised of Ezra Miller, Lilah Larson, and Josh Aubin.

“All of the things that we do are political,” Larson muses. “There’s something in particular about choosing to express things publicly. Even songs that aren’t overt are still political. I think purporting to make nonpolitical art is a political choice and a pretty irresponsible one at that.” The band’s politically stimulated modus operandi is no more apparent than on “U.S. Gay.” The raucous standout single off their new album, Deus Sex Machina: Or, Moving Slowly Beyond Nikola Tesla, is a queer rallying cry set to jagged, lurching guitar chords, bursting with fury and tenderness and rage and joy and complexity. It’s an anthem for those who have been othered by society, something which Miller says is the greatest threat to humanity today.

 

 

“When we live in a time where all bodies are truly endangered, we have to be even more sensitive to the realities of the most endangered bodies on the planet, in our communities, and in our lives. We’re clearly not in a great position as a society to endure some of the crucibles and crises that we’ve brought upon ourselves. As a band, we try to create a space that is both comforting and challenging.”

Alice in Wonderland

Carol, 72, wears all vintage Gucci and bootleg Nike X Gucci sneakers

"A cruise is a parade, a collection, the most important economically and strategically; but it's mostly a point of view." Michael Burke

In such an unabashed celebration of self-expression, photography righteously takes center stage, either sneaking into eccentric performances of L.A.’s avant-garde theatre and film circles or illustrating fierce misfits posing for the camera. Steven Arnold captures Meza under dramatic make-up in a black and white photograph of a staged and propped moment from 1983; Laura Aguilar’s Plush Pony portrait series from the early 90s chronicles lesbian life through a bunch of regulars frequenting the namesake bar in the Eastside of Los Angeles; or Tosh Carrillo’s intimate never-before-seen images of his friends and lovers manifest the queer life outside stage glamour in domestic settings.

For a little more funk, stop by the stills from Judith F. Baca’s 1976 performance Vanity Table, in which Baca subverts Chicana stereotypes in her hyperbolic gestures. Snaps of L.A.’s underground music scene of four decades ago prove the inherent alliance of queer and punk, affixing the Latinx influence on the era’s grungy figures, such as the Bags and Nervous Gender.

Not to be overlooked are Meza’s large-scale paintings ranging from a homoerotic merman to a bundle of abstract curves, rendered not quite differently from another with equal emphasis on the unexpected vibrancy of black and grey as well as the sensuality attributed to form. The absence of vibrant colors in these paintings refers to his diagnosis as HIV positive in the early 80s.   

I understand that you are a third-generation shaman. Were these rituals passed down to you through your family or outside of your family?

Fumi Ishino

Based in Los Angeles but born in Hyogo prefecture, Ishino received his MFA from Yale’s storied School of Art. The experience of going back and forth between the US and Japan and the reconciliation of their respective cultures have, for Ishino, lead to creative occasions for what he terms “misinterpretation.” In his 2018 publication Rowing a Tetrapod, Ishino deliberately created imagery that left the location of its setting uncertain. A series of black and white images, taken both in Japan and the US, incorporate a diversity of imagery, both original and appropriated—for example, family ephemera, banal landscapes, and NASA-related pictures. They all come together to reflect what Ishino describes as being “linked to a form of alienation in my own experience.”

FROM THE SERIES “ROWING A TETRAPOD,” 2018

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