August 28 2014

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4 posts tagged "Charlotte Rampling"

Has Nicolas Ghesquière Surfaced?


“Where’s Nicolas going?” has been the parlor game of choice for the fashion set of late, and as of this week, there may be at least part of an answer: onto Twitter. The new @TWNGhesquiere hasn’t breathed a (digital) word yet, but W‘s Edward Enninful posted a welcome message, which is probably about as close to an authentication as you can get without Twitter’s little blue check. Is it really him? The account is following a more-or-less Ghesquière-approved 11 people (including Enninful, Lori Goldstein, Charlotte Rampling, Pierre Hardy, and much of the staff of French Elle), but further than that, there’s no saying for sure, until (at earliest) his first transmission. The world awaits.


Charlotte Rampling, Christopher Walken, Dree Hemingway: Roommates?


Photographer Alex Hank (pictured, right) taught himself to paint, brushstroke by brushstroke. Some would hesitate to dive into portraiture with a background like that, but Hank dreamt big. “I made a wish list of people I’d like to paint,” he said at the opening of his new exhibition, Roommates, on Friday night. “That’s the great thing about having nothing to lose. You totally lose your fear about approaching people, however you can.” Hank’s list included the legendary English actress Charlotte Rampling (pictured, left) and Christopher Walken, both of whom, to his slight surprise, he convinced. “That’s the kind of situation most people think happens because you’ve got some connection, or something. But it wasn’t like that at all. I literally just signed up for IMDB Pro—for, like, twenty bucks you can get pretty much any celebrity’s contact info, even if it’s just an ‘info at’-type e-mail address.” (Why Rampling in particular? “In some ways she’s an obvious choice—she’s an icon, right?” he said. “And she knows it.”)

The actress hosted a private dinner in Hank’s honor at the former Dia Center for the Arts space in West Chelsea, where the full set of large-scale paintings is now on display. “I think it’s very personal, it’s very humane, and I think there’s a great spirit in the faces that he paints,” she said. “They come alive more and more as you look at them. It’s fascinating to see all these faces; they should always be together.”

In fact, the name of the exhibition came about because they were all together—at least in painted form. “It started as a joke because a friend of mine lives in the little bedroom in my studio. All of a sudden there was one of these up there, and then another, and they became the roommates,” Hank said, while accepting congratulations from the likes of Dree Hemingway, Gay Talese, Carmen Dell’Orefice, and Zani Gugelmann. Roommate Walken couldn’t make it for the evening’s festivities, but according to the artist, he’d already had a memorable enough experience with him to last a lifetime. “When I wrote the e-mail they said to please give my phone number and expect a call from Mrs. Walken,” he recalled. “My friend that helped me with the show said, ‘Make sure you pick up the phone every single time in case it’s Walken.’ So, of course, I get a call while I was in the bathroom from Mrs. Walken inviting me to their house in Connecticut.” He managed to return the call and make the trip to see the star. His impressions? “Walken is Walken,” he said. “I will remember that moment until the day that I die.”

Roommates is open through March 25 at the former Dia Center for the Arts, 548 W. 22nd St., NYC.

Photo: Joe Schildhorn /

Bringing Humanity To The Fashion World


Last night, the contemporary art scene in Chelsea was just as buzzing as the stores. And—no surprise—in some pockets there was heavy overlap between the worlds of art and fashion. At Lehmann Maupin Gallery, Juergen Teller opened an exhibition called Paradis, blurring the distinction, as Teller does so deliciously, between commercial and art photography. The subject of his show? A series of portraits of the Marc Jacobs ad man’s past muses Charlotte Rampling and Raquel Zimmermann, shot nude as they lounge and pose in the Louvre. Said the elegant gallerist Rachel Lehmann of the show, “Juergen brings humanity in a very, very strong way into the fashion world and this is, I think, why Marc Jacobs likes working with him so much.”

Credit: Photo: Juergen Teller, Paradis, 2009. Courtesy of the Artist and Lehmann Maupin Gallery, New York

Juergen Teller Had His Hands Full Everywhere


Fashion’s constant state of flux means that few things ever remain, well, constant. For this reason, Juergen Teller’s creative relationship with Marc Jacobs as the shooter of all campaigns bearing some form of Jacobs’ imprimatur is so remarkable. Teller’s raw, intimate, and often comedically irreverent style is the thread running through the various seasons, but the mind meld between designer and photographer has managed to stay interesting and provocative over the course of a decade. Two of Teller’s past MJ campaigns have evolved into books: Louis XV, from his infamous romp with Charlotte Rampling at the Hôtel Crillon for Spring 2004 and Juergen Teller, Cindy Sherman, Marc Jacobs from the Spring 2005 shoot with the artist. But this week, Steidl releases the simply named Juergen Teller: Marc Jacobs Advertising 1998-2009, a chronological compendium of every single ad. caught up with Teller on his publicity tour to talk about getting dressed with Cindy Sherman, the arc of Marc, and his adventures at the Louvre.

So this book contains literally every single campaign organized chronologically?
We had to cut it down a little bit, but yes. That was kind of important to me that you see the development through the years. It starts with the first, which is Kim Gordon, and ends with Raquel Zimmermann. And it’s basically done as it appears in magazines, like tear sheets. It’s a crisp white page and you see faintly the tearsheet is a bit off-white. You can see that it’s Artforum size and it’s square, or that it’s Teen Vogue and it’s tiny. It’s quite important to me to not take a single photograph out and put it together as some sort of book. I wanted to see it how the consumer sees it in the end.

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