Tag Archives: Paris-LA Magazine

L.A. ART BOOK FAIR

DoPe Press is extremely happy to see the return of the Printed Matter–LA Art Book Fair to the Geffen Contemporary at MOCA. We will be in section H07 on the main level.

Our newest publications—the journal PARIS LA 16: “The Fashion and Writing Issue” and the artist’s book …my life in the sunshine—Liz Craft 2006–2017—will be available, as well as our back catalogue and a selection of out-of-print titles.

For art and fashion lovers: In 2013 the artist Max Hooper Schneider created a silk scarf edition with P.P.M. Studio, Milan. We are offering the edition for purchase, as well as his last available original artwork from this series—dense, hand-drawn graphic lines recalling imaginative worlds and biologies—which will be part of a forthcoming book published by DoPe Press in September 2019.

In addition, we have invited some friends and family from Paris to share their publications and journals: Paraguay Press, MAY, and Profane.

PRINTED MATTER—L.A. ART BOOK FAIR 2019

Opening night, April 11, from 6 pm to 9 pm.

Friday, April 12, from 1 pm to 7 pm.

Saturday, April 13, from 11 am to 7 pm.

Sunday, April 14, from 11 am to 6 pm.

Geffen Contemporary at MOCA

152 North Central Avenue, downtown Los Angeles.

From top: Cassi Namoda, Love and compromise between a clock and hyena, 2018, from “Selected Paintings,” PARIS LA 16; Liz Craft, …my life in the sunshine–Liz Craft 2006-2017 page layout; image from PARIS LA 16, drawing of Lotta Volkova by Cédric Rivrain, 2018; image from PARIS LA 14, photograph of Elizabeth Schmitt Jennerjahn and Robert Rauschenberg at Black Mountain College by Hazel Larsen Archer; image from Alex Hubbard, Eat Your Friends (DoPe Press, 2015); Max Hooper Schneider, silk scarf edition for P.P.M. Studio, 2013, photograph by Nuage Lepage, 2019; image from PARIS LA 14, Juliana Huxtable, Sympathy for the Martyr, 2015; image from Oscar Tuazon, Live (DoPe Press and Buchhandlung Walther König, 2014); cover image, Pentti Monkkonen, Box Truck Paintings (DoPe Press, 2014); PARIS LA 16 inside covers, Michèle Lamy, photograph by Katerina Jebb, 2018.

REI KAWAKUBO — 2019 ISAMU NOGUCHI AWARD

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Rei Kawakubo is this year’s sole recipient of the sixth Isamu Noguchi Award, which will be awarded on May 2 at the Noguchi Museum‘s annual benefit in New York.

See “Independent Lines: Adrian Joffe in conversation with Dorothée Perret,” PARIS LA 16 (2018): 20–24.

2019 SPRING BENEFIT AND ISAMU NOGUCHI AWARD

Thursday, May 2.

Noguchi Museum

9-01 33rd Road (at Vernon Boulevard), Long Island City.

From top: Rei Kawakubo, photograph by Paolo Roversi, © Comme des Garcons, 2016; Spring Benefit, 2019; Metropolitan Museum of Art exhibition, courtesy the Met.

KARL LAGERFELD

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“I was once a professor at the College of Applied Art in Vienna. In the short period in which I lectured, I realized that I had absolutely no educational fiber whatsoever, that I wasn’t interested in my students. Without being egotistical, what I do is make things. Explaining it to others is not my thing at all. I’m a battlefield person. And generals don’t necessarily make a good minister of war.” — Karl Lagerfeld

“It is with deep sadness that the House of Chanel announces the passing of Karl Lagerfeld, the Creative Director for the Chanel Fashion House since 1983. Virginie Viard, director of Chanel’s fashion creation studio and Lagerfeld’s closest collaborator for more than thirty years, has been entrusted by Alain Wertheimer with the creative work for the collections, so that the legacy of Gabrielle Chanel and Karl Lagerfeld can live on.” — Chanel, February 19, 2019

“I love frivolousness. I know a lot of people who would have disappeared long ago had they not been frivolous… I hate it when the gentlemen with their taffeta and scissors take themselves too seriously. I love everything that is transcient. You should never anchor yourself in an epoch. The tale of Romeo and Juliet lasted only one night, and now it’s the symbol of eternal love.” — Karl Lagerfeld

The fashion designer, creative director, photographer, artist, publisher, bibliophile, actor, author, costumer, and aphorist was a cherished contributor to PARIS LA, supporting Chanel’s campaign collaborations over the last ten years, and creating a poster for Issue 5.

“I have no conception of my valuable time. For me, wasting time is the ultimate luxury. For example, if I’m lying on the couch and reading an interesting book when I should be doing something else, maybe that’s wasting time. But the stimulation of a guilty conscience is extremely creative. It’s the spice of life.” — Karl Lagerfeld

Lagerfeld quotes from Deutsch Vogue Dialogues, “Camouflage, Camouflage: Voyeur Karl Lagerfeld in conversation with his friend Gabriele Henkel, an expert on the stage management of life” (originally published in Deutsch Vogue in 1992), edited by Condé Nast Germany (Munich: Prestel Verlag, 2004), 110–114.

From top: Karl Lagerfeld in Paris, Grand Palais, July 2018; young Lagerfeld in Paris; Lagerfeld with Donna Jordan (left) and Jane Forth in L’Amour (1973), directed by Andy Warhol and Paul Morrissey; Lagerfeld in the 1970s; Lagerfeld with Jacques de Bascher, 1970s, photograph © Philippe Heurtault; Yves Saint Laurent and Lagerfeld at the Palace, 1970s; Karl Lagerfeld, photograph from Metamorphoses of an American (Göttingen: Steidl, 2008), his tribute to model Brad Kroenig; Karl Lagerfeld, posters (front and verso) for PARIS LA 5 (Winter 2010–2011); Lagerfeld with Paloma Picasso at Studio 54, photograph by Richard P. Manning.

TAYLOR MAC’S HIR

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“Working catharsis is my art form, and one of the ways I do that is by the time-honored tradition of making something ridiculous…

“My job as a theater artist is to remind people of things they’ve forgotten about, or they’ve dismissed or buried, or other people have buried for them.” — Taylor Mac, PARIS LA*

Mac—an incandescent magpie of modern culture—is a champion of what he calls “authentic failure,” a process where the performer goes out on a limb and stays there:

“There’s something about getting up there, risking, falling flat on your ass, and then picking yourself up, that—when you’re watching it on a stage—is profound.”*

Mac the performer, in his transformative 24-Decade History of Popular Music shows, risks everything for six, twelve, twenty-four hours at a time. Mac the playwright concentrates his gender-queer socialism into two-hour projects and sends his actors out to walk the plank, where they thrive.

HIR—Mac’s 2014 play in its Los Angeles premiere at the Odyssey—is a wonderfully disturbing satire that imagines a long-abused family reaching its greatest potential by taking revenge on the abusive patriarch (Ron Bottitta), who was—according to his wife—another “mediocre straight white man who’s barely lifting a finger but thinks he’s lifting the world.”

Mom (Cynthia Kania)—who spends enriching weekends at the local museum with her daughter-turned-son Max (Puppett)—no longer cooks or cleans, so when soldier son Isaac (Zack Gearing) returns home from the Middle East, he walks into an exploded kitchen-sink drama of familial detritus.

“Hir”—pronounced “here”—is a pronoun that floats between “her” and “his.” HIR, the play, will be on the boards for only six more weeks. so get your tickets now.

HIR

Through March 17.

Odyssey Theatre Ensemble

2055 South Sepulveda Boulevard, West Los Angeles.

*See “A Time to Be Born: Taylor Mac in conversation with Barlo Perry“, PARIS LA 15 (Spring 2017): 78–85.

From top: Cynthia Kania (left), Ron Bottitta, and Puppett in Hir; Kania, Puppett, and Zack Gearing; Kania; Gearing, Kania, and Puppett; Gearing, Bottitta, and Kania. Photographs by Enci Box.

HILTON ALS — A COLLECTIVE PORTRAIT OF JAMES BALDWIN

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“Troubled times get the tyrants and prophets they deserve. During our current epoch, the revival of interest in author James Baldwin has been particularly intense. This is in part due, of course, to his ability to analyze and articulate how power abuses through cunning and force and why, in the end, it’s up to the people to topple kingdoms.

“As a galvanizing humanitarian force, Baldwin is now being claimed as a kind of oracle. But by claiming him as such, much gets erased about the great artist in the process, specifically his sexuality and aestheticism, both of which informed his politics.” — Hilton Als*

GOD MADE MY FACE—A COLLECTIVE PORTRAIT OF JAMES BALDWIN—a group show curated by Hilton Als, featuring the work of Njideka Akunyili Crosby, Diane Arbus, Richard Avedon, Alvin Baltrop, Beauford Delaney, Marlene Dumas, Ja’Tovia Gary, Glenn Ligon, Alice Neel, Cameron Rowland, Kara Walker, Jane Evelyn Atwood, and James Welling—is on view through mid-February.

In conjunction with the exhibition, the Metrograph and Als will present a series of films featuring Baldwin through the years, at home and abroad.

GOD MADE MY FACE—

A COLLECTIVE PORTRAIT OF JAMES BALDWIN*

Through February 16.

David Zwirner

525 and 533 West 19th Street, New York City.

HILTON ALS ON JAMES BALDWIN FILM SERIES

Friday and Saturday, February 1 and 2.

Metrograph

7 Ludlow Street, New York City.

See “The Energy of Joy: Hilton Als in conversation with David Bridel and Mary-Alice Daniel,” PARIS LA 16 (2019): 217–221.

From top: Marlene Dumas, James Baldwin, 2014, from the Great Men series exhibited at Manifesta 10 in St. Petersburg, image credit: Marlene Dumas and Bernard Ruijgrok Piezographics; Beauford Delaney, Dark Rapture, 1941, oil on canvas; Alvin Baltrop, The Piers (man sitting), 1975-1986, photograph; Richard Avedon, James Baldwin, writer, Harlem, New York, 1945, © The Richard Avedon Foundation; Ja’Tovia Gary, An Ecstatic Experience, 2015, video still; Jane Evelyn Atwood, James Baldwin with bust of himself sculpted by Larry Wolhandler, Paris, France, 1975 (detail), gelatin silver print. All images courtesy David Zwirner.