August 20 2014

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3 posts tagged "Marisa Berenson"

The Final Countdown


It might be too late to order that YSL gold-plated ring on Net-a-Porter that your sister really wanted for Christmas, or that leopard-print 3.1 Phillip Lim iPad case you meant to get your mom, but don’t give up hope of finding the perfect gift for your fashion-minded friends and family just yet. Throughout the year, a host of fashion-centric books have been released, from Christian Louboutin’s tome ($150) celebrating the art and history of his sexy stilettos to the more recently released retrospective book from Inez van Lamsweerde and Vinoodh Matadin, Pretty Much Everything ($700). (To preview the book, check out images and an interview with the husband-and-wife photography team on I have compiled a list of a few of my favorite good reads and coffee table-worthy books from the year (below). You can pick them up at a bookstore near you (click the links to locate a local retailer) or even easier, buy the Nook Book gift version (select books) on

Chanel, Her Life, $58,

Christian Louboutin, $150,

Deborah Turbeville: The Fashion Pictures, $85,

Diana Vreeland: The Eye Has to Travel, $55,

Dior Couture, $115,
Continue Reading “The Final Countdown” »

Found In Curation:
Sofia Coppola’s Robert Mapplethorpe


Gallerist Thaddaeus Ropac has a long history of collaborating with fellow creative types to showcase the work of Robert Mapplethorpe—Hedi Slimane and avant-garde director Robert Wilson among them. For his latest coup, the groundbreaking impresario—who has been showing Mapplethorpe’s work for decades—has brought a new light into the fold: Sofia Coppola and Robert Mapplethorpe.

For the new show, Coppola presents the photographer from her own perspective, bringing to light some lesser-known images. “When I was going through Robert Mapplethorpe’s archive at the [Mapplethorpe] Foundation, selecting the photographs for the show, it was interesting to discover images I didn’t know of his,” Coppola said. “For example, it was the first time I saw that he had done sweet portraits of children. It was a side of his work that was completely new to me.” Below, speaks with Ropac about Coppola and the unseen side of Mapplethorpe.

Robert Mapplethorpe, Curated by Sofia Coppola, runs through January 7, 2012, at Galerie Thaddaeus Ropac, 7 rue Debelleyme, Paris,

Tell me about the decision to present Mapplethorpe’s work through the lens of another artist.
Together with the Mapplethorpe Foundation, we decided that one way to look at his work was to ask different personalities from the creative world to curate an exhibition. In 2005, we asked Hedi Slimane to curate a show in our Paris gallery. His own passion for photography brought him close to Mapplethorpe’s aesthetics, allowing him to revisit the work in an intimate manner. In 2006, we asked Robert Wilson to curate an exhibition for the Salzburg gallery; Bob had known Mapplethorpe and shared a close friendship and artistic dialogue. Bob’s show originated from his very unique experience of being photographed by Mapplethorpe, which influenced his selection as it was comprised solely of portraits, offering the viewpoint of someone on the other side of the lens.

And why choose Sofia for this new exhibition?
When I saw Lost in Translation, certain images and framing made me think that it could be incredible to bring these two creative universes together.

What aspect of Mapplethorpe’s work is highlighted in this exhibition?
Sofia made her selection of photographs from the Mapplethorpe archives at the Foundation in New York. She has chosen a totally different perspective, one that is probably more contemplative and not so straight on, somehow more intuitive. In fact, the idea of these curated shows is to present Mapplethorpe’s work in a less academic light. She will include many of his still-life flower photographs, but has also selected some lesser-known portraits of children and animals. These will be punctuated by photographs of landscapes, which may recall scenes from a film.

These images aren’t the ones we typically associate with Mapplethorpe, which tend to be more provocative and, often, homoerotic.
Mapplethorpe’s work implies a certain sexual aesthetic that Sofia has chosen not to present in this show, so she will definitely show a different side to the artist’s work through her selection, which will go beyond the obvious.

How do you feel about Mapplethorpe’s legacy nearly 30 years after you first showcased his work?
I was very proud to show his work in Salzburg in the eighties. Mapplethorpe’s career underwent an incredible transformation from the Robert Mapplethorpe I met back then, whose work was very underground, to his first photographs being purchased by an important museum as the Guggenheim, to being considered an artist who largely contributed to positioning photography as an art form in its own right and, ultimately, to becoming one of the major artists of the twentieth century.

Photo: Marisa Berenson, 1983 © Robert Mapplethorpe Foundation. Used by permission. Courtesy Galerie Thaddaeus Ropac, Paris/Salzburg

A Magazine And Acne Paper Play Host In Paris


The party people were out in force on Friday night in Paris’ Marais to celebrate the latest editions of two—get this—print magazines. The revolving-editor A Magazine chose Giambattista Valli to helm its new issue: his chosen theme, “real beauty,” and his cover, a portrait of River Phoenix by Michael Tighe (above right). Marina Abramovic, Nan Goldin, Chiara Clemente, Lee Radziwill, Peter Schlesinger, and Kenzo Takada all collaborated on the tenth issue, as did Sasha Pivovarova, who did a series of self-portraits. “This magazine is about what nourishes me; it’s another way to show my inspirations,” said Valli, who opened his exploration with a 1975 quote from Yves Saint Laurent: “What we imagine may be very beautiful but nothing replaces reality.” (To buy, visit

Around the corner at the very private Maison de La Chasse, Maria Berenson and editor Thomas Persson (below right) co-hosted a fête for the new issue of Acne Paper, the Studio Issue, and Kristin Scott Thomas and Bruno Frisoni (below left), Nicola Formichetti, Lanvin’s Lucas Ossendrijver and Elie Top, and Catherine Baba all dropped by to mill in the hunting house’s drawing rooms. The mag includes visits to, or representations of, the studios of artists like Matisse, Pollock, and Hockney, as well as photographic portfolios by Helmut Lang and Eric Boman. A nude Leigh Bowery (shot by Bruce Bernard as he sat for a portrait with Lucien Freud) appears on the cover (above left), and hostess Berenson is inside, shot by Katerina Jebb in Jean Cocteau’s house in Milly-La-Forêt. “Marisa’s grandmother, Elsa Schiaparelli, was so close to Cocteau it was natural to shoot her in his old house,” Persson explained of the spread, “and Acne is based on the idea of a creative collective, so we focused on artists’ studios as the place where creativity happens.” (To buy, visit Acne, 10 Greene St., NYC, or

Photos: Courtesy of A Magazine; Courtesy of Acne Paper