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I took this for Johnny Cupcakes of my good friend Josh Lovell.
People are simply wonderful.
Merry Christmas, everyone.
Hundreds of letters to Santa are mysteriously addressed to an apartment on West 22nd Street in Manhattan. The two guys who live there decide to answer them. A journalist tried to trace where the senders…
In November time I got the chance to assist the Fashion Co-ordinator, Zoe. I’d seen in the issue that, the following week, Bag To Body was going to be in my town of Nottingham. Cue quick emailing to Sally-Anne (executive fashion editor) and a phone call to Zoe and all was in place for me to be…
Turned to a dizzied tourist myself, forgetful and jetshocked, I have to hunt in my head for the language spoken here.
But this is where you live; it
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| — | Raban, Jonathan. 2008 [1974]. Soft City. (via benoitbordeleau) |
Made this for my awesome friend, De Babe! A picture of her (hope I did justice.) She is doing a huge favor for me so this was done in return :0 she does a lot of kick-ass logos and designer-ly images
‘The Last of a Kind’:
Soon after Spain’s most famous artist died, El Periódico, a newspaper in his native city of Barcelona, published a spread with a plaintive headline: “No One Like Tàpies.”
Antoni Tàpies, 88, was a local hero who rose to international prominence by bringing Great Spanish Painting into the postwar era. His metaphysical abstractions are infused with the legacy of his modernist forebears, Picasso and Miró—along with medieval Catalan mysticism, Eastern spirituality, anti-fascist sentiment, and an assortment of humble materials, like dirt and straw, imbued, as his champion Roland Penrose put it, with “a profound hidden meaning.”
Admired for his pro-democracy stance during the Franco era, when many other artists were in exile, Tàpies grew into an éminence grise, a public and much-published intellectual who built a foundation to share not only his own work but also his fascination with other cultures and disciplines. “From the time I was very young, I felt like a missionary,” the artist told me in his home in 1990, surrounded by art objects from Africa, Oceania, and other parts of the world. “It’s always the story that poets are something of the loco, hero, priest, teacher.”
…Asking artists and curators who they thought could fill his shoes as artist or as icon, El Periódico came up empty. “He was the last of a kind,” says Manuel Borja-Villel, founding director of the Fundació Antoni Tàpies in Barcelona, who now runs the Reina Sofía in Madrid. “Tàpies was a bridge between the historical avant-garde and the younger generation. He wasn’t modern anymore, and not postmodern. That makes him very interesting. You cannot understand Spanish art and culture without his presence.”
Read more in my story in ARTnews.
Porta metàl·lica i violí (Metal Shutter and Violin), 1956. Collection Fundació Antoni Tàpies, Barcelona.
