MARCH 2014 - AN EMERGI NG ARTI ST MAGAZI NE 2 Spring 2014 CREATIVE SUGAR COVER PHOTO OF ARTI ST SHAUN EL L I SON BY GRAHAM COPPI N FEATURE ON PAGE 13 CREATIVE SUGAR Spring 2014 3 Creative Sugar Issue 8 Editor-in-Chief Sabrina Scot Copy Editor Marilyn Recht Stylists Amber Hards (assistant) Harriet De Winton Rebecca Wood (assisstant) White Pak Photographers Alex Traylen Amanda Thomas Jason Homa Joseph Gallo Writers Adam Devlin Beverly Cossia Christna Donahue Dena Ferreira Ely Sepulveda Ethan Boisvert Ignacio Alexanders Morgan Clarke Samantha Weiss Dress Designer Molly Mishi May Makeup Artsts Inma Azorin Grace Kinsley (assistant) White Pak Hair Inma Azorin Rebecca Simpson Art Directon Sabrina Scot 2014 Creatve Sugar Magazine All rights to art, words, photos, design and copyrights are the property of the Artst. All work in this publicaton may not be used without the Artsts consent. New York, New York Contact: info@creatvesugarmagazine.net web: creatvesugarmagazine.net facebook.com/creatvesugarmagazine FROM THE EDI TOR EDI TOR- I N- CHI EF Thi s coul d be consi dered the i ntervi ew i ssue. We ve found a group of arti sts whose stori es wi l l hopeful l y peak your i nterest and i nspi re you. Be sure to submi t your art story and i f you have that fri end who i s al ways worki ng on fol l owi ng thei r arti sti c vi si on, send them our way. That s what we want to feature, that s what we are al l about. Enj oy! 4 Spring 2014 CREATIVE SUGAR
A R T &
C U L T U R E RACHEL COHEN 6 BY IGNACIO ALEXANDERS NICASIO FERNANDEZ 10 BY CHRISTINA DONAHUE SHAUN ELLISON 13 BY ETHAN BOISVERT THE BEAUTIFUL AND THE DAMNED 18 FASHI ON EDI TORI AL MARISSA NADLER 22 BY ADAM DEVLIN BADPUSS 24 BY DENA FERREIRA CREATIVE SUGAR Spring 2014 5
C U L T U R E
REBAROQUE 30 BY SAMANTHA WEISS LONDON CAL L I NG 34 FASHI ON EDI TORI AL J UL I E VAN SUCH 38 BY ELY SEPULVEDA TAKE ON FI L M 40 BY J OSEPH GAL LO TOMMY T 46 BY MORGAN CL ARKE PETER SHOUKRY 50 BY BEVERLY COSSI A SHOW DATES 52 6 Spring 2014 CREATIVE SUGAR Any day in Brooklyn is a good day for art. Wheth- er one is in need of landscape inspiraton on Bay Ridges Shore Road or something more abstract and bright on Bedford Avenue in Williamsburg, art in Brooklyn is not hard to fnd. Every now and then one has the opportunity to experience the art and converse with the artst. We get to ask questons like, Where did the inspiraton for this line, this color, this fower, come from? We spoke with Brooklyn-based artst Rachel Co- hen in a local Clinton Hill cofee shop. As she drank her cofee she spoke about her atempts to make sense of lifes chaos through art. Why did you become an artst? RC: Ive have always been an artst. It all began in kindergarten. I drew a full horse scene and look- ing at the piece now I think to myself thats re- ally good for a kid. The talent is almost primal, its always been there. In college during my un- dergrad I studied English literature, and although I created a lot of work I never took an art class. I never thought of getng involved in the schools Art program. Not having thought about art during your under- graduate studies, how did you end up becoming Rachel Cohen the artst of such energetc work? RC: In 2008, when everything began going down- hill with our economy, I found myself working for a post-producton company that made visual efects Rachel Cohen: Dancing with chaos for commercials. When that industry began to get pummelled because everyone started pulling their advertsing funds due to the recession, I re- alized that partcular job was not going anywhere for me. During that tme I had a moment when I asked myself What am I going to do? Having worked a ton of random jobs, everything from fashion to executve assistant, I tried everything and in doing so I became extremely frustrated with life. Feeling overwhelmed, I started paintng a lot during that tme and thats when it fnally came to me and I said to myself Wait a second this is what I do, paintng! This is what I want to do. I thought of going for an MFA but realizing that art was the one thing that has always kept me together I weighed it against a Masters in art therapy but the economy being as bad as it was, I could not pull the trigger on an MFA. I decided to earn my Masters in creatve art therapy from the Prat Insttuton. What brought you into art therapy? RC: I became an art therapist mainly because I felt that art saved me, I believe that art kept me going. Paintng and the process of creaton helped especially in my teens, my twentes and post college life. My art helped me stck out and deal with the chaos of life. A Masters degree in creatve art therapy would allow me to have a day job atached to creatve expression and most importantly it would allow me to help people. By Ignacio Alexanders CREATIVE SUGAR Spring 2014 7 I became an art therapist mainly because I felt that art saved me, I believe that art kept me going. 8 Spring 2014 CREATIVE SUGAR I MAGES OF WORK COURTESY OF RACHEL COHEN CREATIVE SUGAR Spring 2014 9 During that tme around our city I notced that ev- erywhere I looked things were getng really dark. As an art therapist I am able to pursue my art but most important it allows me to give back. Whats your process before you begin to work on a piece? RC: It always begins the same, I have my rituals and its always the same process. I make a playlist, which I spend a good amount of tme organizing. The music must be perfect before I begin to work. Then, I grab my American Apparel fanny pack, put my headphones on because I cant paint without them, sometmes I dance and I begin. I start with an ink layer. I put the ink down on the canvas and I let it react, and it reacts diferently every tme based on -- the slope of the foor even how heavy I gesso it. That becomes a source of the catalyst to what will come next. I let that dry, let that happen and I come back usually the next day. I look and see whats there, I analyze the cha- os. Chaos only because I have no say on what the reacton of the ink looks like and that chaos is my startng point. Where does the inspiraton for your work come from? RC: I am inspired quite plainly by life and the day to day of life. A lot of my work comes from work- ing out the frustratons of daily life. My work is the tension between control and lack of control over chaos. It mimics what the experiences of life are for me. Work frustraton, relatonship frustra- tons, and train frustraton, its inspired by the idea of being out of control in a place like New York. As a young person and young artst theres not a lot of support out there. I am a big inspira- ton for my work and everything I come across. My job as an art therapist also plays a part in the inspiraton of my work. Is Rachel Cohen the person any diferent from Ra- chel Cohen the artst? RC: I thought about this queston a lot and no, which is really cool. My art is about my personal experiences; moreover my world revolves around the art studio, art galleries environment. My day job is to help other people be creatve and in do- ing so I have realized Rachel the person and Ra- chel the artst are one person. I am the artst Ra- chel Cohen the person who keeps paintng even if all I want to do at tmes is cry in a corner. What do you hope people get from your work? RC: I hope that people will be able to connect with my work in a way beyond what is presented on my canvas. Even if what they see in the inks and what the text solicits from them is difer- ent for every person, my biggest hope is that my work will open all the nuances that are here in our world. I want them to connect with the world even if there is no plan because sometmes is all about the moment. Rachel Cohens dynamic work is sure to make anyones heart skip more than a few beats. From her complementary colors to her choice of text, the work is well developed not only in skill but in the exploraton of the deep dark seas of the human soul. The viewer embarks on a journey guided by a compass with a pointer that aligns it- self with the magnetc feld of the human heart. Rachel Cohens art allows its viewer to fnd hope in chaos. For more informaton or to contact Rachel Cohen, Please visit www.rachelcohenart.com 10 Spring 2014 CREATIVE SUGAR nicasio fernandez: wonky genderful By christina donahue ( TOP) PORTRAI T OF MY MOTHER, THI S BI SH OI L, PL ASTI C AND CAUL K ON CANVAS 32 X 40 ( BELOW) BEACH, ON A NI CE DAY OI L ON CANVAS 46 X 34 CREATIVE SUGAR Spring 2014 11 13 ne look at Nicasio Fernandezs piece and the viewer is instantly transported to a world of color and thought-provoking imagery. The various mediums that make up his numerous pieces make his artwork a joy ride for the senses. His pieces convey a nostalgic undertone; viewers might fnd themselves chuckling to themselves, reminded of past experiences that the artwork helps bring to the surface. All of his pieces are accompanied by quirky ttles, such as Portrait of My Mother, This Bish or Lonely Drinker at the Wrong Address. His whimsical pairing of cartoon- like characters with adult themes of sex and politcs, such as childhood cartoon-like fgures with naughty imagery of female and male genitalia, allows viewers to see these topics in a new light. I was fortunate enough to pick the mind of the man behind these intriguing works of art and ask him some questons. When did your love of art begin? My love for art began when I was very young, probably around 2 or so. When my brain could kind of functon. I would watch Bugs Bunny everyday and just get mesmerized by the humor. Can you describe your style of art? My style of work involves wonky genderful characters displayed in a child-like manner clashing with adulthood aspects such as sex, money, mockery and politcs. The result of the work will end up in a bawdy perspectve. What do you enjoy most about creatng art pieces? I just enjoy working and being productve. Putng paint on any material is an indescribable feelingas well as letng my subconscious actually do what it wants to do. What drives you to create the pieces that you create? Well I never work on one piece, I have multple works in process. This helps create the next piece without thinking. For the most part its my thoughts constantly being ahead of me, creatng the next thing for me to do while working or doing anything else. What do you hope viewers of your art take away from viewing your pieces? For now, I like the viewer to be engaged with some laughs and their own personal thoughts. Perhaps something from their childhood that the paintngs bring out they may have forgoten. That one terrible one night stand or their favorite cartoon. Ive notced you use diferent mediums for your art (video, sculptures, canvas). Do you feel it is important to use many diferent mediums? Are there diferent messages you are trying to put across? I try to incorporate mixed elements in my work such as cat hair, gliter and rhinestones, just to name a few, because they remind of my childhood. (Plus there is no escape from cat hair.) I dont think its important to use mixed media unless you think its best for you. I just to try access what I have around me. Can you describe your artst process? How do you begin to create your next art piece? My process is surrounded with chance and control connectng simultaneously. Doing lots of research but having litle thought for whats going on. The results boil down to me making what I want to make. To learn more about Nicasio Fernandezs artwork visit his website at: www.nicasiofernandez.com O 12 Spring 2014 CREATIVE SUGAR 14 PHOTO BY GRAHAM COPPI N painting came as an evolution while searching for truth. CREATIVE SUGAR Spring 2014 13 shaun ellison: unearthing the layers By ethan boisvert hile visitng galleries in Chelsea, I happened to walk into Shaun Ellisons opening exhibiton Yankee Zulu at the Anna Zorina Gallery on 533 West 23 rd St. I was very impressed by the bold colors, intelligence, and strong, unforced executon of the work. The show was packed with guests who were very celebratory and engaged with the work. I revisited the show multple tmes and found the paintngs to become more revealing each tme. In short, I would defne them as mostly fguratve, infuenced by the modernist era, ofen fusing diferent methods of compositon, and experimental forms of media applicaton. One of my favorites was You and I (on Yellow) which consists of a nude female and clothed male sitng in chairs facing the viewer. There is a wonderful hierarchy of color that is somewhat unpredictable and accentuated through the use of various brush strokes and layering of joint compound. This creates a set of horizontal lines that move across the canvas, adding a dimension reminiscent of painted objects. The forms do not follow the horizontal lines but rather collide or, beter yet, sweep over them. There is an interestng scratching happening in the males shirt that not only gives character in its expression, but also works as a mimicking device to the other horizontals in the piece, thus bringing in an unexpected contnuity. Overall, the show was very coherent and each piece was unique. A hauntng quality encompasses Ellisons work; there seems to be a soul within each piece, as if at any moment they could come to life. Most photorealist painters desire this efect but almost never get it. I had to fnd out more. I scheduled a visit with Shaun at his Bushwick studio. I frst looked over some work and then we began to chat. Since Shaun is from South Africa, I had to ask, What does that mean to you and your work? Shaun explained, My approach to paintng is not necessarily just fguratve nor is it South Africanspecifc. I am inspired by many things, such as modernist paintng, meditaton, the accident, the language of feeling as opposed to intellect or academic paintng. But to some extent I like bringing in some sort of context. The fgure for me has multple uses. It engages the viewer frst, ofering a certain viewpoint as it interacts with its interior and it also engages the viewer with ofen a certain meditatve quality. I dug deeper. I am interested more about the modernism and method. I see hints of many things, Matsse, Gauguin, Milton Avery, even a neo-expressionism from the 80s. Shaun explained, Yes that is all true. I partcularly am inspired much by Jean Dubufet, Chaim Soutne, and Francis Bacon. I am drawn to non-academic visceral work and that is what I create. Its more about the art than any statement that could be said about it. This type of work you really need to see in order to experience it. So how longhave you been paintng? I asked. Well I can give the generic answer, my whole life, but I didnt get serious tll my early 20s. Philosophy was my directon before this and paintng came as an evoluton while searching for truth. I see truth in all of life and want to recreate my experience in a genuine way, so that I do not miss out on the experience that afects me. And this truth you speak of, what exactly do you mean by this? W 14 Spring 2014 CREATIVE SUGAR 16 Well I think our culture has a sinister underbelly to it. There is a certain amount of plastcity, superfciality, even a conditoning not to queston things anymore. We are also more removed from reality via technology. I would like to see more people personally connectng and addressing things more directly. So where do you see your work going in the future. I am really interested in paintng bigger. There is a whole new challenge to that. I want to paint on the foor more because there is something really natural about that where your whole body becomes a part of the process. Its diferent than the stfing efects I feel when on the wall. I want to focus more on the concept of saturatng an area with form and then have very large inactvated spaces to balance that. Also I am really into watercolor and like the efect that has. There is a certain layering quality that you can get without having texture, so that is infuencing my directon in paintng with oil. And your life here in the city? Its been good so far. There were tmes I thought about leaving because it can be such a grind. But I am really enjoying my tme more than ever here in Bushwick. This is a cool town. It has a certain kind of humbleness about it, which you dont necessarily see in the middle of Manhatan. Id like to see more connecton in the art scene here. Many artsts are so ofen alone in their studio. We parted ways and I was lef to refect not only on the paintngs, but the light he shines on his practce with his words. Shaun is making genuine work that is part of the antthesis to this cultural degeneraton. It is not slick, nor designed as a plastc trophy to be manufactured in some huge factory for uber-rich investors only interested in the market. It does not pretend to be something it isnt, which is a major problem with academic art of today. Whereas many artsts are out there trying to make philosophy to back up their work, Shaun, who studied it, refuses to use it as his excuse or crutch to justfy the work. Its made by hand with heart and it stands on its own, unique and specifc to him and strongly engaging the viewer. This is a young artst who has a long future to make many more paintngs and be involved in projects that have not even been conceived of yet. CREATIVE SUGAR Spring 2014 15 17 ( ABOVE) YOU AND I ( ON YEL LOW), 2013, MI XED MEDI A ON CANVAS, 60 X 48 ( TOP L EFT) SHE J UST APPEARED, 2013, MI XED MEDI A ON CANVAS, 27 X 21 ( BOTTOM L EFT) MUSL I M MAN 2, 2013, WATERCOLOR AND I NDI A I NK ON PAPER, 30 X 22 16 Spring 2014 CREATIVE SUGAR & 18 THE B e a u t i f u l THE DAMNED CREATIVE SUGAR Spring 2014 17 19 THE B e a u t i f u l THE DAMNED PHOTOGRAPHER: AMANDA THOMAS DRESS DESI GNER: MOL LY MI SHI MAY STYL I ST: HARRI ET DE WI NTON STYL I ST ASSI STANTS: AMBER HARDS REBECCA WOOD MAKE UP ARTI ST: I NMA AZORI N MAKE UP ASSI STANTS: GRACE KI NGSL EY HAI R STYL I STS: I NMA AZORI N REBECCA SI MPSON MODEL S: MOL LY L EWI S- SMI TH ARABEL L A L EWI S- SMI TH ROB NORBURY EMI LY BREEZE BECKY MERCER DAM COOMBS OUI S L EWI S- SMI TH 18 Spring 2014 CREATIVE SUGAR 20 CREATIVE SUGAR Spring 2014 19 21 20 Spring 2014 CREATIVE SUGAR 22 CREATIVE SUGAR Spring 2014 21 23 22 Spring 2014 CREATIVE SUGAR marissa nadler Feb 8 at glasslands gallery By adam devlin Marissa Nadler played to a swelling crowd February 8 th at Glasslands in Brooklyn, New York. Glasslands is located at 289 Kent Ave, a former community art space gone fully reputable venue, with its own legacy and style. A bevy of PVC tube lights speckles its ceiling, flling the void once occupied by iconic light cloud installatons. Small and cozy Glasslands hosts a small foor space with a bar and a modest balcony against the lefmost wall upon entering, a railing made of spare metal and wood that flls out the spaces ersatz-ramshackle design. An enduring veteran on the Kent Ave venue strip, it thrives in the wake of 285 Kent, its unafliated neighbor venue which closed for good a few weeks ago. Glasslands has gone legitmate and press- worthy, with an atractve, well-designed web page and even rotatng drink specials. Opening for Nadler was Zachary Cale, a mostly country rock group, and Amen Dunes a krautrock- afected psych rock band. Cale opened up the crowd with some easy banter, joking about the weather and exchanging awkward smiles with the other members of his band. Strummed acoustc guitar and more than one carefully labored-over synthesizer made for hybrid country balladry that was far harder on the country than many other groups in the genre, with a unique style that explains Cales hard-earned critcal praise. The set dulled in the fnal minutes along with the audiences waning interestan embarrassing but unavoidable fact of being an opening band but not enough to kill the mood completely. Afer Zachary fnished up and cleared the stage, Amen Dunes shifed the perspectve of the night to something more unpretentous and fuid. At frst, it was hard to tell whether or not they had started; the assorted tune-ups and sound checks gradually setled into an inculcated groove, with drummer Parker Kindred beatng out sof rhythms in an odd illogical heartbeat. Damon McMahon stuck to loose rifs, gliding through a suite of songs without moving much and proudly displaying his handmade Aphex Twin t-shirt, while Jordi Wheeler struck his best ...she challenges you to find comfort in tension... PHOTO BY ADAM DEVL I N CREATIVE SUGAR Spring 2014 23 Bryter Layter pose and messed with efects pedals. Ive seen Amen Dunes twice before and always thought they needed to loosen up on stage, and I think this performance rewarded that opinion. Hazy and inspiring, they showcased some of the fnest true psychedelia Id seen in a while; not just druggy but deeply compatble and cooperatve. It was as if they had leaped the impossible hurdle linking casual late night practces with the strictness of a stage show. Once they were fnished, they dispersed with litle fanfare. Nadlers audience draw overwhelmed the comparatvely small venue. As she set up the room flled to capacity, a mass of fans scrutnized her every move as she confgured cables and fell victm to feedback problems, while bandmates Nina Violet and Janel Leppin atempted damage control. Stumbling back and forth through the backstage curtains, she eventually reappeared alone with a guitar. Afer a quick apology the frst of manyshe began a near-fawless renditon of Holiday In[n], one of many touchingly simple solo pieces she would perform from her new record. Marissa Nadler is a consummate professional in performance, and carries a remarkable stage presence. Foolhardy and genuine between songs, she apologized multple tmes for lacking synthesizer accompaniment, despite playing almost entrely new material which a fair amount of the audience had probably not yet heard. Yet it was shared serendipity among everyone in atendance; songs like Drive and Dead City Emily jumped out on frst chorus and seemed immediately familiar and fond. And as the glassy chords and brilliant tmbres of cello and violin collided raucously on Anyone Else, the room swelled with stunning tension. Marissas beautful songwritng carries a bleak, blackly gorgeous edge to it, like the shatered remnants of a once hopeful folk singer struck with some incalculable tragedy. In most other ways her music is conventonally folksy and aesthetc, but her voice commands a darkness that, either practced or real, is deeply moving. Nadlers bandmates also forged a name for themselves, with Nina Violets steel pedal proving an especially powerful counterpart to Janel Leppins studious cello work. In lieu of synthesizer parts, Leppin flled in on cello for about every song Nadler performed, making a sofer but more organic form of Marissas material. Not as ethereal as Nadler might have intended, the cellos inclusion was nonetheless a fne substtute, a chilling tmbre, and sparse enough not to come of as overwrought. Instlled with Nadlers sense of space and her penchant for building fractured worlds not dissimilar to traditonal folk but made slightly askewa straight approach to folk instrumentaton stll worked in her favor. Her distnctve voice carries this directon, partcularly the way she waltzes just outside of a waltz, or upsets the balance in a ballad. To follow the familiar changes would be too easy; she challenges you to fnd comfort in tension, to go through it all and witness the bleak sadness and come out the other side inured and calm. From that you will never be able to decide: was this a pleasant experience or a harrowing one? She makes sense of that space, existng in it by choice and borne of a lastng artstc deliberaton. It was a wonderful showing on the crowds part, and a wonderful performance. Nadler closed out with an encore of older material, then a quick goodbye and a smile. Marissa Nadlers newest record, July, is out now on Sacred Bones Records. 24 Spring 2014 CREATIVE SUGAR badpuss: a popumentary By dena ferreira CREATIVE SUGAR Spring 2014 25 By dena ferreira adPuss: A Popumentary undresses female stardom to reveal a hypersexu- alized culture of young, misguided girls. A story that in many ways parallels todays Hollywood headlines, the flm is about BadPuss, an all-girl band whose rise thrusts them into a hedonistc, raucous culture, and eventually a painful fall from fame. The flm refects pop stardom through the lens of a funhouse mirror. Lara Reares, the creator of BadPuss, has high hopes of bring- ing the band back together for a comeback tour, but this is not as easy as shed thought. Years have passed, resentments have festered and dark secrets have come to light. Docu- mentng the revival of this threesome is a desperate reporter willing to follow around bandmates Lara, Kassie, and Ro just two days before the great comeback tour, Body Shots and Hot Regrets, kicks of. The flm is a ride of cosmic proportons sans the protectve gear, depictng the medias im- age of lascivious spoiled pop stars. It propels itself into whimsical stardust then dives deep down into hell fre through the unfortunate and ofen hilarious calamites of three tragi- cally beautful women trying to survive in the chaos and debauchery of contemporary pop culture. Its not a tale of cauton, but rather a grand fantastcal tragedy, says writer/direc- tor, Emily Wiest. If there is a message, its a byproduct of the struggle. Wiest weaves a strong, dark humor into the depicton of a fallen all-female pop band. Their tragedy is our humor, much like what Whoopi Goldberg did in her Surfer Girl stand- up. Wiest takes serious subject mater and presents it in a way that is at once hilarious and sexy--untl the harsh reality of partying to abandon, fornicatng recklessly and resort- ing to violence renders you speechless. The laughter contnues even as you realize the deeper, more meaningful story beneath the plot. Britney Spears in a state of panic shaving her head had everyone glued to the news. Miley Cyrus swinging from a wrecking ball naked and suggestng lewd sex on this years MTV Music Awards got lots of atenton and sold millions of albums. We laugh at their tragedy or we rally behind them blindly. But really, what is funny about a young girl in a state of panic who makes erratc decisions because she is desperately trying to fnd her own voice, or breathe, or break out? The daughter of Oscar-winning actor Dianne Wiest, Emily grew up surrounded by racon- teurs. I asked her at what point in her life she knew she wanted to act, write and direct. Im a storyteller, she said. The frst book I ever wrote was called Long Knowits, and I was three. Sadly it has yet to be published. I always knew I wanted to be a storyteller and Im stll refning what that means. I grew up backstage in old theaters. If you spend a sum- mer crouched in the dark listening to Oedipus and Salome over and over, and you hear those heightened moments, you know the extremes B 26 Spring 2014 CREATIVE SUGAR of the ups and the downsshes dancing, hes gouged his eyes out againits bound to have a bit of an impact, it becomes a part of you. Actress Sydney Lemmons grandfather is Jack Lemmon. Asia Ashford, another Popumentary star, is the spawn of music royalty Ashford and Simpson. The third actress, Hannah Sorenson comes from the plains of North Dakota and her mother is an artst. I think the biggest gif we all share is that our parents understand the need we have to create. It frees you up, that kind of support. The cast raised the money themselves on kick- starter.com; no parent pulled favors, wrote scripts, or even acted in the flm. Together they raised an impressive $28,000 $3,000 more than their goal from 190 backers. The BadPuss website features some great video of the team asking for donatons, and also features set design video and an interview with Jon Barber Gutwillig of Disco Biscuits, the man behind the music. I interviewed Wiest, Lemmon and Sorenson while crammed in the kitchen of their photographer friends apartment as they got their hair and makeup done for the days shoot. Janis Joplin was blastng out of the front room so that Wiest could get into character. Lemmon stretched cat-like on the foor drinking cofee while Sorenson trans- formed from the girl next door into a magnifcent, sparkly, bubble gum pop starlet. The love they have for one another was evident as they remi- nisced about their summer of flming and frst impressions of meetng one another. Each spoke about the struggles of being so new in this busi- ness. Their biggest concern seemed to be the lack of work on their resumes and making money just like any struggling actor from coast to coast. Wiest and her co-stars Lemmon and Sorenson all talked about the importance of collaboraton. Wiest atributes much of the success of the flm to her producton team and their belief in the project. If she started to get doubtul or confict arose, it was the team that kept her focused. Producer Karli McGuiness had this to say about producton: As a flmmaker friend of ours warned us, A lot of pre-producton is putng out fres. To that we say, we are fearless fre fghters! We are fearless due, in large part, to the support we have from experienced professionals in the industry who have made themselves an irreplaceable part of this process. Wiest adds, The fearless frefghter is Karli Mc- Guiness, and she lived up to it on a daily basis. So how does one go about getng the right ensemble together? BadPuss is awesome because people just kind of fell into the project. It started with close friends and then spread as the project grew. Carrie Keagan signed on through VH1 with Keith Koslov, another of our producers. Our designer Claire Deliso was a college friend from our undergraduate studies in theatre. Shes an absolute powerhouse. We had this fne art- ist raised in the French countryside designing massive sets and costumes for a rock band, it You know, why is something so child-like and pure and loving and young so sexualized? CREATIVE SUGAR Spring 2014 27 was like this perfectly unexpected culminaton of perspectves. She made us romantc and sexy without losing the humor. My favorite quote from her (imagined with the slightest French ac- cent): Nipples! We must have more nipples! Each scene is driven by a hard beat mastered by Jon Barber Gutwillig, who also acted in the flm and can be heard on the website. Yes, the part of DJ BarberShreds was writen for him, says Wiest. He really got it and loved it and just started composing tunes. Hes a master, because its a story that looks back over the careers of a group of musicians so you kind of witness the death of the instrument throughout their musi- cal trajectoryHe just transitoned through each phase without batng an eye, writng these hit songs with lyrics meant to ft into the mocku- popumentary genrefrom the hardcore rock ballad Chain Me to Your Twin Bed College Boy, through the gangster I Aint Yo BadPuss, and onto the upbeat club mix Ketamine Santa. Sydney Lemmon and Hannah Sorenson provided their own vocals, Leah Elizabeth provided mine. The other contributng musicians include Steve Molitz, The Infnite Wizard (Robin Hood) David C. Butler, Clay Parnell of Brothers Past, Robert Sahm, Zane Nominee Urquhart, Brandon S. Meyer, and Cara Salimando of Novelete. Wiest is destned to be a 21 st Century writer and star and she is not alone. Each actor in the flm does a brilliant job conveying the emotons of a girlie pop star who has begun to lose her shine and is desperately trying to make a comeback . The tension and confict between Lara, Ro and Kassie make for great drama and dark humor, but the point is that these lost starlets could beneft from the real-life directon and focus of their creator, Ms. Wiest. Hannah Sorenson is a pleasure to watch. Her character Kassie is a walking heart with legs, says Sorenson. From her big wide-eyed expres- sions, her tantalizing naivet and sexy costumes, you cannot take your eyes of her. A great de- parture from the actress herself, who unlike her character is a grounded woman, a Yale gradu- ate who prides herself on intellect and doesnt rely on her good looks to get by. About playing Kassie she says: Shes a sexualized child in this world - which I think was a pleasure to play because it asks some really important questons about our pop culture, media and how women are represented. You know, why is something so child-like and pure and loving and young so sexualized? And what happens to these people? There is some- thing very distorted about this. The flm also puts a mirror to the face of the fanatcally frenzied young girls who believe these women are demi-gods, destned to be their best friends forever. They cry to them over the Internet, make YouTube videos pledging their devoton to their icons, but when the idol falls, the fanatc falls too. Sydney Lemmon, who plays Ro in the flm (whose character seems a bit hostle on the idea of a resurrecton of the band), talked about how she came to play Ro. You know, why is something so child-like and pure and loving and young so sexualized? ( L- R) SYDNEY L EMMON, EMI LY WI EST, HANNAH SORENSON 28 Spring 2014 CREATIVE SUGAR I was on the road doing a natonal tour of Romeo and Juliet and Animal Farm and I was in Tennes- see when Karli, the producer on the flm and also a long-tme friend, just wrote to me. The subject line was Bad Puss and I thought Oh this is a viral spam but then I read more and thought, okay, tongue and cheek, thats a good sign, aware of itself, good, mocumentary, it was really inter- estng. As Emily and I wind up our day of shooting for the magazine with photographer Jason Homa, who also does all the exquisite stlls for the flm, she stresses the pleasure of seeing something you en- visioned come to life; to see the sets come to life, the characters take their frst breath and to have people read your story and get it. Wiest said, Its a beautful thing. Before leaving I want to know what Wiest would say to that lonely, frightened girl, wrapped up in the media gliter and pop idolatry crying her eyes out on YouTube or just writng her pain in her closet. To her I say, Go outside. Live a litle. Live the life that BadPuss cant because theyre so damn busy being that. By that Ms. Wiest means the young girl drown- ing in the pop world of eye candy, sex and illu- sions. We need to set higher standards for our young girls today; give them access to a more confdent, intelligent and independent role model who thinks for herself and doesnt rely on her sexuality for validaton. Trailer: htp://youtu.be/LxKeO-L7Wq8 htps://www.facebook.com/ BadPussAPopumentary?notf_t=page_new_likes SYDNEY L EMMON HANNAH SORENSON AL L STI L L PHOTOS BY J ASON HOMA PHOTOGRAPHY CREATIVE SUGAR Spring 2014 29 ( L- R) SYDNEY L EMMON, EMI LY WI EST, HANNAH SORENSON 30 Spring 2014 CREATIVE SUGAR rebaroque: upcycling the art of sound by samantha weiss CREATIVE SUGAR Spring 2014 31 rebaroque: upcycling the art of sound Back in the day, your music was like your furni- ture, Mikal tells me, shifing back and forth on his chosen perchthe one clear area of his work desk, which is almost the length of his studio in Bushwick. His long legs swing back and forth in his dark jeans as he fdgets with the gray, tweed cap on his head. Im trying to bring that back. Mikal Hameed is the founder of Re-Baroque, which is part of his desire to combine art and music into something new, artstc, and functonal. His pieces seek the perfect marriage between art and sound, which is achieved through paterned canvases with high-quality speakers that connect wirelessly to any Bluetooth device. The meet- ing of both worlds began as a birthday gif to his partner, but soon was picked up by Anthropologie and other retailers. As I glance around the studio, Mikal explains the basics of his projects. Im dealing mostly with traditonal paterns right now, he states, gestur- ing behind him to two speaker systems hanging on the white walls of the studio. Both display a simple, yet elegant, argyle print, encapsulated by intricately carved wood frames that have been spray painted to bright blue and baby pink. The table on which he is sitng holds several un- framed pieces stll in the making, in bright foral colors and other varying paterns. Those are for a hotel, he says, proud and excited. Theyve ordered twenty-four pieces. Thats what Im trying to branch into right now, more hotels and other larger clients like that. At the moment, most orders come online from individuals who pick out sizes of frames, then send Mikal the fabric they want their speakers to be displayed in. The rest is up to him, and it usually takes about two or three days for him and his assistant, Fernando, to complete the work. I ask him whether the type of music that plays through Re-Baroque speakers changes the mean- ing of the art, but he shakes his head. The meaning of the art is for the client to enjoy, he states. I mean, I did a couple of country fags which would ft beter with that countrys music, and Ive done a jazz series that would work great with jazz music, but other than that, its the client. I dont only do speakers, though, he says, jump- ing of the table for a moment to survey the large, custom-size speaker system in the center of the studio. This one is for a barber shop in town. The guy wants his logo on it, but I hope I can convince him not to do it. I agree with him; the large, black velvet system is contained in a simple black frame, with one speaker painted bright gold to add some favor. Its the perfect mix of class and edge. But the speakers are just specifc to Re-Baroque. Ive done a trumpet into a lampa tampand the keys turn the light on and of and adjust the bright- ness. And before this speaker was here, there was a snowmobileI just got back from showing that in Germany. Hes also working on a headboard with speakers and lights on either side, for reading at night with- out having to have a bulky nightstand and lamp beside you, and a dresser that can hide all of the wires in a home (for cable, Wi-Fi, televisions, alarm clocks, or anything else that might be around) and keep them organized without taking up as much space. The entre purpose for Mikal is to make things beautful and functonal at the same tme, with a personal touch that his larger compettors cant reach. Some people take my idea, but they dont really do what I do, he explains. Theyre all about the botom line, and Im about personalizing it and making something that really fts in with the rest of your dcor. Hes also about keeping the marriage between art and music at the forefront of his designsboth of his parents were professional jazz musicians, but he was unable to learn to sing or play an instrument, and so he chose visual art instead. I searched through the DNA, you know? Instead of creatng an entrely new person out of myself, I searched into what I already had inside me and brought it out in a new way. The conversaton shifs back to his recent trip to Germany. He tells me about losing his phone in the airport, only to have someone bring it to the plane just before taxiing onto the runway. He pauses for a moment, looking around his studio with the same wide smile thats been on his lips the entre meetng; then he shakes his head and laughs. Im a lucky guy, he says. Im the luckiest guy in the world. 32 Spring 2014 CREATIVE SUGAR Photographer: Al ex Trayl en MUA & Styl i st: Whi te Pak Model : Zoe Brown Al l cl othi ng by Yane Mode LONDON CALLING CREATIVE SUGAR Spring 2014 33 35 34 Spring 2014 CREATIVE SUGAR 36 CREATIVE SUGAR Spring 2014 35 37 36 Spring 2014 CREATIVE SUGAR 38 CREATIVE SUGAR Spring 2014 37 39 38 Spring 2014 CREATIVE SUGAR carves can be charming, they can be state- ments; scarves can make or break the outit, or quite simply provide the warmth you need for winter. But if youre reading Creatve Sugar, you likely put a bit more efort into what goes around your neck (or elsewhere). All black and no play can be so blas on a crowded street youll need some- thing extra special to stand out in a great way. Feeling feminine, modern, and edgy? Are you tred of seeing the same wonderful scarf you just bought walk past you tme and again? Julie VanSuch has something for you. A Brooklyn based, self-proclaimed luxury scarf designer, VanSuch strives to provide you with unique designs digitally printed on natural fbers that just beg to be looked at. I sat down to have a chat with the head of J.VANSUCH Studio to fnd out all about her drive, her aesthetc, and her fresh scarves of course! Already designing from her senior year at Rhode Island School of Design (RISD), VanSuch started her own line in 2012 with the push of her best friend Frank Marando. She became fascinated with the pos- sibilites of communing prints and materials to create fun scarves to wear. Whether shes traveling to Barcelona or Paris, Oslo or Belize, or just walking down the buzzing streets of Manhatan, VanSuch is on the lookout for inspiraton in the small things. A busy woman with her own line, she fnds the tme to do custom work for boutques as well as personal or- ders. She knows who her ideal client is, a contempo- rary post-modern woman who likes to stand out with a wild print but is also sophistcated enough to have impeccable taste and weed out the bullshit. She loves luxury but knows how to have fun, and VanSuch is ready to design for her. With key elements such as surrealism, nature, mystery and modernism, you will fnd bold prints and paterns with great splashes of color in each of her annual collectons. ES: Why do you design? JVS: Mostly to feed my soul and because I feel so passionate about designing something beautful to inspire others. It is so heartwarming every tme I get a customer who tells me how much they love my work. All Black and No Play Can Be So Blas ES: What motvated or inspired you to become a luxury scarf designer? JVS: I saw a hole in the market for more artstc, painterly, and compelling scarf designs. I like the idea that what you wear refects your mood and tells a story. I thought of it as an opportunity to showcase my paintngs/artwork into a wearable item that is personal and collectable. I enjoy the idea of keep- ing people warm and creatng a piece that some- one gives as a special gif and does not dispose of at the end of each season like many clothing items. A scarf is a tmeless classic piece in your wardrobe that makes you feel good and can be sentmental. My scarf line is a modern take on a classic accessory, using innovatve digital prints, modern shapes, and luxury materials. ES: What is your creatve process like when design- ing? JVS: I play around with many techniques and allow myself to experiment; this includes drawing, paint- ing, sewing, and collage. Then I pick my favorite patern studies and fgure out how I want to com- bine them. As I am working, I start to narrow down my color palete and focus on the most beautful techniques. One of my rules in designing is that it has to be a combinaton of 3 diferent elements or paterns. Afer I pick out my favorite elements to focus on, I scan them into the computer. In Photo- shop, I can easily copy and paste all my diferent pat- tern studies and fnish out the layouts in the exact size of the scarf or accessory. The fle I create is then what I use to digitally print on fabric. ES: Who are your role models as a designer? JVS: I am completely obsessed with Mary Katran- zou, Prabul, Phillip Lim, Christopher Kane, Jonathan Saunders, Dries Van Noten, Balenciaga, and Opening Ceremony. ES: How do you set yourself apart from your com- pettors? JVS: My designs tell a story that I fnd is rare in the by Ely Sepulveda S CREATIVE SUGAR Spring 2014 39 current market. Each print design is an original design and a limited editon. I only print 25 pieces and when they sell out, thats it. These are not mass produced and you cannot just fnd them any- where. I also do a lot of custom work. My custom- ers appreciate the fact that they are getng a one of a kind piece that is made with love in Brooklyn. ES: Do you plan on expanding into other accesso- ries or apparel? JVS: I would love to someday expand into apparel. We will contnue to focus on accessories for now untl we are ready for that next leap. Stay tuned for our upcoming hair accessories and Mens Fall line. I would also love to expand into tech accesso- ries and handbags. ES: How do you see yourself and your business in 5 years? JVS: I see the business expanding into other prod- ucts and our studio growing to host more equip- ment and local artsans. I love the idea of all these local crafsmen in all varying skills working on the J.VANSUCH line. ES: What are you doing to accomplish these goals? JVS: We are adding in some more embroidery techniques to the Fall line and working with a local small factory in Greenpoint. Our hair accessories are also being sewn there. I am experimentng with many more fabric and print techniques and sil- houetes that will shape our future collectons in a major way. I love collaboratng and learning from all the incredible artsans I know. Julie VanSuchs current Spring line, the Kinetc col- lecton, silks featuring hand-painted elements, is on sale now at jvansuch.com. While there, get an inside look at past collectons and a taste of whats to come, including the launch of her Fall line in September. KI NETI C BLOSSUMS KI NETI C CI RCL ES KI NETI C STRI ATI ON J UL I E VAN SUCH 40 Spring 2014 CREATIVE SUGAR 34 CREATIVE SUGAR Spring 2014 41 TAKE ON FI LM BY J OSEPH GALLO 41 42 Spring 2014 CREATIVE SUGAR CREATIVE SUGAR Spring 2014 43 43 GOWANUS CANAL I N BROOKLYN, NY BY J OSEPH GAL LO 44 Spring 2014 CREATIVE SUGAR CREATIVE SUGAR Spring 2014 45 FI L M PHOTO BY J OSEPH GAL LO 45 46 Spring 2014 CREATIVE SUGAR If you took a camera, and I took a camera, and we shot the same thing, whats the diference? -TommyT I sat down with Tommy in his Queens studio to catch up on life. Weve known one another for over ten years now so we skipped the formalites and got right into reminiscing about growing up in Brooklyn. Remember when we used to get in trouble and have to stand on that stage? Tommy laughed with me as we recalled some of our best childhood memories. Yeah man, we would kill for some recess tme too. The conversaton about elementary school and be- ing nine years old gently transitoned to the topic of cameras. He was eyeing my Nikon D5000 and sud- denly I felt intmidated when he asked me what kind of camera I had. Tommy walked over to scope out my less than par camera gear and began to mix-and- match lenses with cameras. He was as genuine and easy going as I remembered. When did you frst notce your love for photogra- phy? Would it sound stupid if I saidwhen Ipicked up my frst camera? [Laughs] What happened was, it started of as a hobby. Basically, I did graphic design. And when you do graphic design, you need qual- ity pictures. I decided to spend like $400-$500 on Christmas and I picked up a camera for graphic design, but then I started liking the quality of the pictures. Thats how I picked up photography. Then people started saying oh you take pictures, do my shoot...then that turned into party pictures, then party pictures turned into a website, and I just built on that. How did you teach yourself photography? YouTube. Trial and error, experience, and YouTube were the main teachers. The editng was amazing because I already did it with Photoshop, but learn- ing how to use a camerajust tme and YouTube. Where do you fnd most of your inspiraton? I would say fellow photographers. The people that I know that are photographers do really dope stuf, and that inspires me to do dope stuf. People will look at other people who do the same thing as them as competton, I see them as an inspiraton. What has been your favorite type of shoot thus far? Hmm, my favorite? I think Im going to say beauty. High-end beauty. I chose that because I dont get to do many. Most of my clients dont come to me for that, and I like it because its very interestng when you get to the editng part. I get to put my own artstc spin on that. Even afer the hair and the makeup artsts do their thing, I get to go back and do my thing. Its very detailed. You have to pay atenton to skin and pores How do you motvate yourself before every piece that you do? Honestly, some of them Im not motvated to do. Some of them I just have to do because someone hired me to. The ones that I like to do, I plan them. I envision what I want and when I get there, I start making it happen. My personal shoots, the ones I do on my own like the 52 Project, I know how the lightng is going to be, and the kind of models I want. TOMMY T: THE MAN BEHI ND THE LENS BY MORGAN CLARKE CREATIVE SUGAR Spring 2014 47 PHOTO BY TOMMYT 48 Spring 2014 CREATIVE SUGAR PHOTO BY TOMMYT CREATIVE SUGAR Spring 2014 49 Tell me about the 52 Project. Basically, thats a project based on portraits. So I want to feature diferent people, not necessarily certain models, or actresses, or celebrites. I just want your regular, normal, day-to-day people. A lot of tmes, clients may come to me and they want me to take pictures for their clothing line with their vision. With my 52, I want to show people my more creatve side on my terms, my rules, and my vision. What do you feel is the best/worst thing about being a self-taught photographer? The best thing I would say is when you see how far youve come. You know that nobody helped you. Nobody held your hand. Its kind of like a proud moment where you get to say wow I did this on my own. You dont owe anyone anything, and no one can say I taught you. Thats a really good feeling. The worst thing is no one is teaching you! [Laughs] You have to make a lot of mistakes to learn. Even with business, since photography is my business, you have to learn those business skills, how to negotate, and how to price your work without anybody helping you. How do you feel afer youve completed your projects? Most of the tmes, when I fnish a shoot, I cant wait to edit. Thats really the best part. Sometmes I get upset when people post my photos when they arent edited because I feel like they arent show- ing my true potental. When Im taking a picture Im always thinking, damn I cant wait to get home and do this, do thatthats where most photogra- phers get to show their creatvity. I get to go home and put my spin on it, and thats when it becomes MY work, and thats what really excites me. What are your short-term and long-term goals? My short-term goals right now are just to get ex- posure. I just want to build my name. I dont have a tme limit; I dont have a monetary goal. Getng exposurethats the foundaton of any business. Im not trying to get rich quick; I just want to build my brand. Word of mouth, networking, social media, getng a good client base are all of my main focuses. My long-term goal is to own my own stu- dio. I give myself about ten years for that because Im trying to do it without investors and loans. I want to do it straight cash. My father and his father were both self-employed. My grandfather owned a tailor shop. He didnt rent it out, he actually owned the building. Thats what I want to do. I want to have my studio with my business running out of it to help promote each other. I have good support and most people dont have that. Their parents want them to get a 9-5, be a doctor, or be a lawyer. My parents support my entrepreneurship. They see my vision. Do you have any advice for those who are pursuing the same things as you? You have to be very brave. A lot of people wont respect it, or they wont understand it. You have to be brave enough to contnue going through it even when youre misunderstood. When I was getng ready to graduate, a lot of people were asking me what are you going to do now, meanwhile Ive been doing photography for so many years. When I tell them Im going to be a photographer, they look at me and ask what are you really going to do. You just have to believe in your goal, and believe in your business. As long as you have that, some support and a good foundaton youll be fne. You also have to be personable too. Patent and personable. TommyT is a man with a plan. He is a visionary who makes his own rules, and always adds a personal touch to his work. He is the epitome of young, fresh talent, and defnitely someone you can expect to do big things. Check out: www.tommytphotography.com PHOTO BY TOMMYT PHOTO BY TOMMYT 50 Spring 2014 CREATIVE SUGAR ( L EFT) ARTI ST AND FASHI ON MODEL PETER SHOUKRY ( TOP RI GHT) SHARE MY DREAM DARL I NG ( BOTTOM RI GHT) RI SE EGYPT ( BOTTOM L EFT) I M GOI NG TO PAI NT THE WORL D CREATIVE SUGAR Spring 2014 51 Peter Shoukry not only has charm, good looks, and amazing style, but the mind of a true artst. Migratng from Egypt to Los Angeles at age ten, Peter never imagined that at age nineteen his art would be featured in one of the most popular museums in Los Angeles. As he got more gigs, his passion not only increased for art but also for fashion as he scored a major deal with Envy Mod- eling Agency. Infusing fashion into his art, he has created something incredibly refreshing to the art scene. Can you remember the frst thing you ever drew or painted? The frst thing I ever drew was a spider man fg- ure. I didnt even know I could draw. I remember in high school I kept asking one of my friends to draw for me untl one day he told me to try it for myself. And I did. How would you describe your artstc style? Defnitely abstract. I like to give people a lesson on art along with anything Ive learnt. On your website, you have two paintngs called Rise in Egypt and One Night in Paris. Do any of the places you visit have any impact on your art? Absolutely. Traveling is my biggest muse. But I like to incorporate the culture and even the politcs and give it a scene. Rise in Egypt was inspired afer a trip I took there. There was so much turmoil and I thought how could I give back to my people? How can I inspire them? I wanted to contribute and motvate and let them know that this will pass. How did you feel about having your art work exhibited in La Contemporary Museum? It was awesome. It was my start. The best thing I could ever have. It was my foundaton you know. It was such a reward, such a blessing for my work to be validated. How has the fashion scene afected your artwork and the way you interpret your art? I had always been into fashion. I had lost some weight and I started to look diferent so I lost some more. I later got signed by Envy and started doing some work for Banana Republic and H&M. I def- nitely make my art to look like a photo shoot. I like for the characters that I draw to look like theyre posing. But I like to market myself as a model and artst. What are some qualites you think an art piece needs to have to be considered a masterpiece? It needs to have everything; it needs to have compositon, it needs to be something that people can relate to. It needs to have a meaning and that meaning I want you to fgure out for yourself. Ill give you a hint but the other 50 percent needs to come from you. Then comes that moment when everything fnally comes together and every line, every stroke that I have made will make complete sense. I used to start without thinking about it and start paintng or drawing. Now, Ill let all my ideas come together frst before I start. When you take your tme and have all your ideas together, you will have a masterpiece. What is your take on the art scene today? Do you have any advice for any young artst just startng out? The art scene today seems so big but its so much smaller than before. There are a lot more artsts than before, but fewer artsts who only breathe and live art. I mean its all over the place. I would say street art is this generatons art form. Thats why I like to make my art colorful like street art. My advice to any artst is to get as much out there as possible. Dont think about the money. Let people see your art. It wont be easy at frst but to make it you have to fail. THE ARTI ST & THE MODEL: PETER SHOUKRY BY BEVERLY COSSI A 52 Spring 2014 CREATIVE SUGAR SHOW DATES AFA Gallery 54 Greene St NYC Joe Sorren: Knock Three Times March 8 April 6, 2014 Opening recepton: March 8, 2014 6-8 pm The works explore new forms and palete highlightng tender faces and gestures of his signature fgures. BAC Gallery 111 Front Street, Suite 218 Brooklyn, NY Subtle Approach March 6 July 31, 2014 Subtle Approach is a group exhibiton featuring the work of four Brooklyn-based artsts whose clever techniques and abil- ity to simultaneously push and pull their ideas and materials slowly reveal something other than what the viewers eye immediately perceives. Artsts: Megan Hays, Colleen Ho, Sarah Nicole Phillips, Carlton Scot Sturgill Curated by Courtney J. Wendrof Opening Recepton: March 6, 6-8pm Bety Cuningham Gallery 541 W. 25 th St. NYC William Bailey Feb. 13 March 29, 2014 While the current exhibiton concentrates on William Baileys recent work, both fgure and stll-life paintngs, also included is a selecton of earlier paintngs including Italian Profle from 1963, Girl in White Skirt from 1977 and LAtesa from 2006. The earlier works serve to reveal the evoluton over the last 50 years of Baileys paintng style and subject. From his early work to the present, his imagery --- whether stll life, landscape or fgure---is composed solely from his imaginaton or, as he would say, it comes from my head. This imagery is adjusted and refned in each paintng. J OE SORREN, BOTH SI DES NOW CARLTON SCOTT STURGILL, COUPLES IN THE POLO FIELDS WILLIAM BAILEY, CITIZEN AMONG THE MONUMENTS, 2013 CREATIVE SUGAR Spring 2014 53 Chambers Fine Art 522 W. 19th St. NYC Multple Perspectves: New Works by Xie Xiaoze February 27 April 12, 2014 Opening: Thursday February 27, 2014, 6 8 pm Clifon Benevento 515 Broadway, 6BR (Between Spring/Broome) NYC Petroleum Jelly - Polly Apfelbaum, John Burtle, Kirsten Nash, David Zutermeister Opens March 8, 2014 DEte Nogle Michael Clifon & Michael Benevento and DEte Nogle present: Regressing to Mean Opens April 19, 2014 Polly Apfelbaum A Handweavers Patern Book Opens May 31, 2014 Flowers Gallery 529 West 20th Street NYC March 6 April 26 Ken Currie Opening recepton: March 6, 6-8pm Following his recent show at the Scotsh Natonal Portrait Gallery, these paintngs contnue to examine the relatonship between paintng, power and portraiture. This exhibiton explores among other things the inherent absurdity of the human situaton, and has drawn infuence from the Spanish Masters Velzquez and Goya. Both these painters worked in the Royal Courts but recognized the vanity, indeed idiocy, in the rituals and protocols of court life. The fgures in Curries work nod to the icons of the Old Masters, a barely concealed hint of satre of our own contemporary version of court life. Ken Currie was born in 1960 and currently resides in Glasgow. He graduated from the Glasgow School of Art in 1983 and has been exhibited internatonally. His work is held in many collectons including the Scotsh Natonal Portrait Gallery, the Scotsh Natonal Gallery of Modern Art, the Natonal Library of Scotland, the Tate Britain, the Boston Museum of Fine Art, and the Yale Center for Britsh Art and The New York Public Library. KEN CURRIE, RED TRIM, 2012 54 Spring 2014 CREATIVE SUGAR SHOW DATES Garvey|Simon ART ACCESS 547 W 27th Street, Suite 207 New York, NY J .Ivcevich: Shreds February 19 - March 22, 2014 J IVCEVICH: Shreds, an exhibiton highlightng the artsts most recent reinterpretatons of shredded subway posters found both in New York City and other places in his travels. This will be Ivcevichs second solo show in New York and his solo exhibi- ton in the U.S. The opening recepton will be held on Thurs- day, February 20, from 6-8pm; the artst will be present. Alan Bray: New Paintngs April 29 - May 31, 2014 ALAN BRAY, an exhibiton highlightng the artsts newest ca- sein tempera landscape paintngs. This will be Brays 7th solo show in New York and his frst with Garvey|Simon Art Access. The opening recepton will be held on Thursday, May 1, from 6-8pm; the artst will be present. Hasted Kraeutler 537 West 24th Street NYC Romulo Celdran Feb 13 April 12, 2014 Hasted Kraeutler is pleased to announce the exclusive U.S. representaton and inaugural exhibiton of Romulo Celdran, beginning February 13, and running through April 12, 2014. The artst makes sculptures and drawings of objects from his everyday life on an exaggerated, larger than life scale. The works in this exhibiton encompass two series, Zoom and Macro. Jef Bark: Golden Boy April 17 - May 31, 2014 Recepton for the artst on Thursday, April 17, 6 to 8 p.m. The photographic tableaux in Jef Barks newest body of work, Goldenboy, exist in an eerily ambiguous tme of day, some- where between the burning, frst rays of dawn and the last glow of sunset. Sufused by a warm, languorous light that evokes the close heat of Southern California, and set amidst colors and textures that recall the 1980s, the series was in- spired by aspects of Barks own autobiography. Although most of the photographs appear to take place outside, and have an authentcally rich, saturated West Coast palete, every one of them was actually taken inside Jef Barks J. IVCEVICH, SHRED MANDALLA II, 2013 ALAN BRAY, DROWNED FOREST, 2013 ROMULO CELDRAN CREATIVE SUGAR Spring 2014 55 New York garage, on a metculously constructed set meant to replicate the California backyard in which he made his frst photographs. Barks insistence on building these complex, intricate sets from the ground upworking in the controlled environment of his studio, rather than at the whim of the elementsis an essental element of his metculous, tme- consuming process. In that spirit, the exhibiton includes a site- specifc installaton that ofers a wholly sensory and immersive experience. Soaked in the warm light so masterfully captured in the photographs, and scented to evoke the salt-kissed air of the sea, the installaton is fted with live parakeets, transform- ing Hasted Kraeutler into Southern California, circa 1980. Joshua Liner Gallery, Gallery One 540 W 28th St. NYC Pema Rinzin: Abstract Enlightenment February 27 - March 29, 2014 Joshua Liner Gallery is pleased to present Abstract Enlighten- ment from Tibetan thangka painter and contemporary artst Pema Rinzin. This exquisite body of work will be Rinzins second solo show since exhibitng with the gallery in 2011. Combining his knowledge of traditonal thangka paintng with his worldly travels to create contemporary pieces, Abstract Enlightenment includes work diverse in color and size. Please join us and the artst for the opening recepton on Thursday, February 27 from 6 to 8PM. Julie Oppermann: Palinopsia February 27 - March 29, 2014 We are excited to introduce Berlin-based artst Julie Opper- mann. This will be her debut solo show in New York, featuring abstract paintngs on canvas and paper. Informed by her mas- ters degree in neuroscience, Oppermanns paintngs challenge the viewer to queston how they see, creatng an awareness of a sense that is usually involuntary. Please join us for the open- ing of Palinopsia on Thursday, February 27 from 6 to 8PM. The artst will be in atendance. Krause Gallery 149 Orchard St (LES) COPE2 x Ben Frost March 21 April 20, 2014 - Legends of the New World Opening recepton: Friday, March 21, 7-9pm COPE2: Fernando Carlo (also known as Cope2) is an artst from the Kingsbridge secton of the Bronx, New York. He has been a graft artst since 1978-79, and has gained internatonal credit for his work. Although he is now known worldwide as JEFF BARK PEMA RINZIN 56 Spring 2014 CREATIVE SUGAR SHOW DATES being one of the founders of graft, he didnt receive recogni- ton in the mainstream graft world untl the mid-1990s when Cope2s cousin Chico 80 infuenced Cope into writng. In 1982 he made his own crew called Kids Destroy and eventually it changed to Kings Destroy afer he dubbed himself King of the 4 Line.[1] Cope2 is well known for his throw-up and is also one of the most known users of wildstyle graft, a style which originated in the Bronx. Cope2 has achieved consider- able mainstream success for his artwork and has collaborated and released many projects alongside such names as Adidas and Time Magazine, Sheperd Fairey, Retna, Kenny Scharf and more. Ben Frost: (born Brisbane, Australia) is a visual artst whose work seeks to challenge contemporary norms and values of Western culture and society. Frosts visual work places common iconic images from advertsing, entertainment, and politcs into startling juxtapositons that are ofen confrontatonal and controversial. He currently lives and works in Sydney, Australia, and exhibits locally and internatonally. The ttle Ben Frost is Dead comes from his 2000 solo exhibiton of the same name where he faked his own death. Invitatons were created in the form of a newspaper funeral notce and distributed natonwide. Newspapers labelled him sick and his actons perverse, when, by complete coincidence, the invitatons went out on the same day a local art patron died. Frost has been exhibitng throughout Australia and internaton- ally over the last 10 years, including solo shows in London, New York, and San Francisco, as well as group shows in Amsterdam, Berlin, Mongolia, and Singapore. In 2007, Frost partcipated in Tiger Translate in Beijing, collaboratng with local Chinese artsts. His work has appeared in countless magazines and newspapers including Vogue, Harpers Bazaar, Oyster, WeAr, Monster Chil- dren, The Sydney Morning Herald, The Age, Ok!, HQ, Eyeline, FHM, Australian Art Collector, Broadsheet, and Art Monthly. JULIE OPPERMANN BEN FROST COPE2 CREATIVE SUGAR Spring 2014 57 Laurence Miller Gallery 20 W 57th St, 3rd Floor, NYC Thirty Years - Thirty-One Photographers Exhibiton: Feb. 6 Apr. 26, 2014 Recepton: Thursday, Feb. 6, 6 to 8pm On February 6th, the Laurence Miller Gallery will celebrate its 30th anniversary, establishing it as one of the oldest galler- ies specializing in photography in the United States. Over the past three decades, the Gallery has hosted approxi- mately 250 exhibitons, and the list of these shows refects the evoluton of photography during that tme as well, emerg- ing from the classic black-and-white medium that dominated much of the 20th century, to include todays large-format color contemporary works, as well as video. The gallery takes great pride in having given many emerging photographers their frst one-person exhibitons in New York City, as well as having presented many of photographys greatest masters. The Anniversary exhibiton will feature the following: Diane Arbus, Laurence Bach, Thomas Barrow, Peter Bialobrz- eski, G.B. Biggs, Gary Brotmeyer, Larry Burrows, Luca Campig- oto, Joan Colom, Petah Coyne, Denis Darzacq, Lee Friedland- er, Miguel ngel Garca, Emmet Gowin, Robert Heinecken, Fred Herzog, Fan Ho, Dodo Jin Ming, Peter Keetman, Helen Levit, Roger Mertn, Ray K. Metzker, Eadweard Muybridge, Toshio Shibata, Aaron Siskind, Michael Spano, Val Telberg, Jerry Uelsmann, Burk Uzzle, Minor White, Bruce Wrighton.
COURTESY OF LAURENCE MILLER GALLERY 58 Spring 2014 CREATIVE SUGAR SHOW DATES Lehmann Maupin 540 West 26th Street, New York, NY 10001 201 Chryste Street, New York, NY 10002 Klara Kristalova: Big Girl Now February 27 April 26, 2014 201 Chryste Street, New York Erwin Wurm: Synthesa February 28 April 19, 2014 540 West 26th Street, New York Adriana Varejao: Polvo April 24 June 21, 2014 540 West 26th Street, New York Lesley Heller Workspace 54 Orchard St, NYC Katherine Newbegin: Vacant March 16 April 20, 2014 For the past nine years, Newbegin has photographed vacant spaces of leisure, travel and transitonal occupancy. All of the spaces she photographs are deeply informed by traces of the human actvites that take place in them, but only remain in evidence lef behind. The architecture of these hotel rooms and movie cinemas hold a stfing sense of deadness, as if they were already a museum, actng as a conduit into a displaced tme. Newbegin photographs with flm on a Pentax 6 x 7 medium format camera and uses only natural lightng, which gives her photographs an ethereal glow. KLARA KRISTALOVA, YOUNG GIRL GROWING, 2013 KATHERINE NEWBEGIN,HOTEL TOURIST I (BLUE PHONE) CHISINAU, MOLDOVA, 2007 CREATIVE SUGAR Spring 2014 59 Luhring Augustne Bushwick: 25 Knickerbocker Avenue Brooklyn, NY 11237 Chelsea: 531 West 24th Street NYC CHELSEA: Jef Elrod Rabbit Ears March 8 April 12, 2014 Opening recepton: Friday March 7, 6-8 pm This will be the artsts frst solo show with the gallery. In this exhibiton, Elrod presents a group of large-scale abstract paintngs which all come from images frst made on a comput- er screen. In his view, the 21st century is characterized by our engagement with the screen, which is illusionary space. Digital images will seem to possess depth, but in reality they are compressed and read as a fat surface.
Tunga April 18 May 31, 2014
Larry Clark June 7 August 1, 2014
BUSHWICK: Michelangelo Pistoleto Minus Objects Dec 18, 2013 - May 11, 2014 The Minus Objects 1965-1966 is an exhibiton of one of the earliest and most important bodies of work created by the art- ist Michelangelo Pistoleto. Widely regarded as fundamental to the birth of the Arte Povera movement in the 1960s, this seminal series radically upended the prevailing art trends of the tme.
Tom Friedman May 21 August 1, 2014 MICHELANGELO PISTOLETTO: THE MINUS OBJECTS 1965-1966, INSTALLATION VIEWS, LUHRING AUGUSTINE, BUSHWICK, PHOTO: FARZAD OWRANG JEFF ELROD STUDIO 60 Spring 2014 CREATIVE SUGAR SHOW DATES Mike Weiss Gallery 520 W 24 NYC Thrush Holmes: MORE - March 8 - April 5, 2014, Opening Recepton March 8, 6-8 PM Martn Wickstrm: Perfume River April 10 - May 10, 2014, Opening Recepton, April 10, 6-8 PM Michael Werner 4 East 77 th Street NYC Sigmar Polke: Early Works on Paper March 13 June7, 2014 Nancy Margolis Gallery 523 West 25th Street NYC Salvatore Federico February 6 March 29, 2014 The artsts frst exhibiton with the gallery, on February 6, 2014, will be on view through March 29, 2014. The opening recepton will take place Thursday, February 6, from 68 pm. In his most recent body of large-scale acrylic-on-canvas paint- ings, Salvatore Federico contnues to paint exuberant minimal- ist two-color compositons. The exhibitons palete is typically punchy, using only the most saturated hues. Bold juxtaposi- tons of warm with cool, dark with lightcolor combinatons that are unexpected yet skillfully deployeddemonstrate the artsts exceptonal color sensibility. In each paintng, hard- edged, sometmes zigzagging, forms hover over fat felds of color. These origami-like shapes foat and pirouete across the paintng plane, while at the same tme efectng a tangible ten- sion as they twist, fold and confront the edges of the canvas. At once full of movement and structure, Federicos angular forms conjure endless associatons with subjects both concrete and abstract. Born out of the minimalist aesthetc, Federicos work bears the infuence of the late Henri Matsse, Ellsworth Kelly and the sculptor Tony Smith, who was Federicos teacher. Federico was born in Washington, D.C. Afer receiving his B.F.A. in 1966 from Richmond Professional Insttute, he was awarded a Graduate Fellowship from the Virginia Museum of Fine Arts. He atended Hunter College in New York City from 19661967, receiving MARTIN WICKSTRM SALVATORE FEDERICO CREATIVE SUGAR Spring 2014 61 an a M.A. in paintng in 1971. Federico has exhibited widely throughout the United States and New York, including George Billis Gallery, Amos Eno Gallery, SAI Gallery and The Drawing Center. His work has received numerous accolades and has been featured in The New York Sun, The New York Observer, Art in America, The New Republic, The Richmond-Times Dis- patch, The Virginian-Pilot, The Washington Post and Modern Painters. Federico lives and works in Sullivan County, NY, and Manhatan. This is his frst exhibiton with Nancy Margolis Gallery. NY Studio Gallery 154 Stanton Street at Sufolk Street, NYC Art Party Saturday March 1, 8pm - 2am Featuring sculptures and an appearance by Alan Wadzinski Sculptures by Alan Wadzinski on view untl May 10 PIEROGI 177 N. 9th Street Brooklyn, NY BOILER 191 N. 14th Street Brooklyn, NY Pierogi: Reed Anderson March 21 April 20, 2014 Opening Recepton: Fri, March 21,7-9pm Kim Jones April 25 - May 25, 2014 Opening Recepton: Fri, April 25, 7-9pm The Boiler: Ward Shelley and Alex Schweder: In Orbit February 28 April 5, 2014
Opening Recepton: Feb. 28, 7-10pm Performance Dates: February 28 through March 9, 2014 Hours: Noon to 6pm Radiator Gallery www.radiatorarts.com 10-61 Jackson Ave, Long Island City, NY 11106 Ofine Partcipatng Artsts: Martha Clippinger, Molly Dilworth, Carolyn Lambert, Beth Letain, Stacie Johnson, Sarah G. Sharp and Parsley Steinweiss REED ANDERSON 62 Spring 2014 CREATIVE SUGAR SHOW DATES Curated by Sarah G. Sharp OFFLINE proposes that part of the cultural response to the overwhelming informaton, access, images and mutable ident- tes that come with life lived on the internet and mediated through a screen, includes a re-envisioning and invocaton of the very thing the digital era suggests we leave behind: the real. The show presents seven artsts who respond to these contemporary upheavals by reframing the mundane, con- crete material of their lived experience in light of contemporary metaphors like rhizomatc relatonships, the recombinant, the virtual and the network. Without nostalgically fetshizing the analog or relying on ant-technology rhetoric, these artsts use familiar forms like abstract paintng, found materials, perfor- mance and photography to re-imagine our new every day life in concrete terms and provoke altered perceptual readings of our ofine experiences. We are reminded that our concrete experiences and identtes are both re-framed by and persist alongside our online lives. Recess Arts 41 Grand Street NYC Recess is hostng Liz Magic Laser, and her project Bystander, from now untl March 22, with a recepton on March 6th from 6-8pm. The project will culminate with performances pre- sented in partnership with The Kitchen on March 27-29 at 8pm. Laser will collaborate with journalists, actors and other artsts to create and edit a script based on interview responses from visitors to the space. The culminatng performances at The Kitchen will stage a dialogue between television news produc- ton and its viewers. Reversing expected roles, professional newscasters will deliver subjectve testmonies while actors, representng the public, ofer factual reports. Robin Rice Gallery 325 West 11th Street NYC Lance W. Clayton March 19 - April 27, 2014 Sous Les Etoiles Gallery 560 Broadway #603 NYC Richard Caldicot February 13 - March 29, 2014 STACIE JOHNSON, TEAM HANDSHAKE LIZ MAGIC LASER, BYSTANDER CREATIVE SUGAR Spring 2014 63 Through subtle play of reorganizaton and repetton, Britsh photographer Richard Caldicot has contnued to explore use of geometric, structured compositon and line, orientng his recent work into an almost conceptual performance of refne- ment, and ultmately creatng a taxonomy of lines that rede- fne a sense of space, trajectory and movement. Here, lines are the traces of a vital force: photographic illustratons of the artsts creatve course. Recent Work 2010-2013 will be on view at Sous Les Etoiles Gallery February 13-March 29, 2014. For the frst tme in exhibiton are Caldicots 2013 photogram and paper negatves. In conjuncton with the exhibiton, a catalogue published by the gallery is available with new texts by Derek Horton and Lyle Rexer. Tibor de Nagy Gallery 724 Fifh Avenue, NYC Kathy Buterly: Enter A selecton of new, abstract ceramic sculptures Jen Mazza: Graf A selecton of new paintngs depictng reproductons from books Gallery Recepton Thursday, February 27, 5 7 pm February 27 April 5, 2014 Zach Feuer Gallery 548 West 22nd Street New York, NY 10011 February - March Gallery 1: Kate Levant: Reverse Leash Efect Gallery 2: Brad Troemel: Freedom Lights Our World (Flow) April - May Gallery 1: Kristen Morgin Gallery 2: Julian Hoeber & Andr Kertsz
May - June Gallery 1 & 2: Mark Flood LANCE W. CLAYTON RICHARD CALDICOTT, UNTITLED KATHY BUTTERLY, PIRETTE, 2013 64 Spring 2014 CREATIVE SUGAR SO SWEET YOU L L GET A CAVI TY. CREATI VESUGARMAGAZI NE. NET