August 1 2014

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3 posts tagged "Philip-Lorca diCorcia"

At Victoria Bartlett, Skin Is In


Fans of VPL won’t be surprised to hear that designer Victoria Bartlett is obsessed with anatomy—VPL is short for Visible Panty Line, after all. But her fixation on the body goes beyond her signature maxi dresses with the bra-cup tops. Tomorrow night, Bartlett is hosting an opening for an exhibition at her Mercer Street store in Soho that she curated with Renee Vara, in which she invited 15 artists to submit work based on the theme (and shown under the title) Second Skin. Philip-Lorca diCorcia, Jack Pierson, Collier Schorr, and Mark Borthwick are among the participants. Hrafnhildur Arnardottir (a.k.a. Shoplifter) is doing a performance in the shop window. All the work except hers will be for sale. “It could be literal, or it could be interpretive,” Bartlett says of the submissions. “It’s also about what’s underneath, getting under your skin, annoyance—all those different points are represented.” Ugo Rondinone’s wax and earth pigments sculpture, nude (xxxxxxxx) (pictured), could almost double as a mannequin. You won’t find any clothes hanging from it before or after the opening—the show will be up for two months—but more than likely his piece and the others will influence Bartlett’s own work. The crossover of media “keeps me ticking,” she says. “It’s fodder for my brain.”

Second Skin opens tomorrow at VPL, 5 Mercer St., NYC.

Photo: Courtesy of Gladstone Gallery, New York and Brussels and INPUT Journal/ Vara Fine Arts

Dennis Freedman: “The Longer I’ve Worked In Fashion, The More I’ve Realized It’s Really Not Just About Clothes”


One year ago, it was announced that Dennis Freedman, the longtime creative director of W, would be leaving the magazine. Freedman didn’t waste any time before embarking on a new chapter of his storied career: In short order, he accepted the role of creative director at a rebooted Barneys New York and revealed that he would be partnering with Damiani on a new book imprint, Freedman Damiani. This month, Freedman Damiani publishes its first title, Philip-Lorca diCorcia: ELEVEN, a retrospective of the photographer’s editorials for W. “I was talking to Philip-Lorca,” Freedman recalls, “and he brought up the idea of doing a book about the work we did together at W, and it happened that I had just made this deal with Damiani. The whole thing was serendipitous.” Freedman goes on to note that his life has been shaped by that kind of luck. “Most of the best things that happened in my career, I never planned or expected,” he says. “But what I’ve learned is that, as long as you’re curious and as long as you’re committed to working with people you care about, the path will create itself.” Here, Freedman talks to about art versus commerce, the value of commitment, and what fashion, at the end of the day, is really all about.

Was launching a book imprint something you knew you wanted to do when you left W?
It wasn’t, no. Damiani approached me, and of course, it struck me as an amazing opportunity. I’ve been really lucky in my career to have been able to work with a lot of people I admire, whose work I believe in, and the imprint is a way of continuing to do that. The idea is, basically, we publish two books a year, and they reflect my tastes and interests. And it’s incredibly gratifying—and fitting—that the very first title is with Philip-Lorca, with whom I had one of the most meaningful collaborations of my career.

How did that collaboration come about?
I was very familiar with his work, after he did this one-man show at MoMA, I was looking at the book from the show, and it struck me that the nature of his work could be applied to fashion, and interesting in the context of a quote-unquote “fashion” shoot. I mean, as a fashion magazine, we could use our tools—fashion, hair, makeup—to define the characters in his pictures. I didn’t want it to be a straight-ahead fashion editorial, and I didn’t want it to be a Philip-Lorca diCorcia work, either; the minute you, as an artist, are incorporating someone else’s objectives into your work, it’s not your art, it’s something else. I wanted to see what that something else could be.

Do you look at these photographs now, and see more fashion, or more art?
I see both. There are credits in those stories, and clothes that were for sale, but that doesn’t mean the photographs don’t have their own validity or integrity. They’re no less interesting because Philip-Lorca had to incorporate other people’s commercial needs, and they have the characteristics of great art, in that you can return to them, they don’t reveal themselves immediately, they require attention. That’s very different than most commercial photography. Continue Reading “Dennis Freedman: “The Longer I’ve Worked In Fashion, The More I’ve Realized It’s Really Not Just About Clothes”” »



Friday night’s dramatic dip in temperature was no impediment to the style crowd’s nocturnal missions. Despite a punishing wind sweeping off the Hudson River, a crowd of Studio 54-like proportions swarmed the entrance to Milk Gallery, bidding to get into tar magazine‘s party celebrating the self-styled “thinking” publication’s second issue. “My name is Philip-Lorca diCorcia,” said the well-known photographer, humbly, to one of the frozen PR girls checking the list. “You shouldn’t be waiting,” somebody laughed. “Who am I?” said diCorcia, whose own latest exhibition opens at David Zwirner Gallery later this month. “I’m just like everybody else.” Inside, things went from chill to chiller. Matthew Barney, Piper Perabo, and a swath of models graced the scene. tar‘s artistic director Bill Powers, sporting his mad-professor coif—fast becoming his signature style—gushed about the new issue’s content, but remained tight-lipped about its cover image and a rumor that it’s linked to a major traveling exhibition. He would talk about the insides, though. “Ryan McGinley has some really cool cave photographs in the issue, like it’s all nudes in caves,” Powers said. “And Terry Richardson did a great portfolio of shrinks—psychologists in their offices and their environments. I think it was mostly inspired by his own personal life.” That’s something we’ll have to see for ourselves.

Photo: Chance Yeh /