Women In Clothes
Book, 2014
ARTICLES
2024
Gagosian Quarterly
Penny Slinger: An Exorcism: Inside Out
A Rabbit’s Foot
Trevor Horn: Video Killed The Radio Star
Gagosian Quarterly
Book Review of Welcome To The Hyunam-dong Bookshop By Hwang Bo-reum, Translated By Shanna Tan
Liber
2023
This Is Hardcore: Pulp, And The Making Of An Image
Gagosian
Vivienne Westwood Tried To Rewrite History And Erase Malcolm McLaren’s Fashion Legacy.
Evening Standard
Loving Malcolm
A Rabbit’s Foot
This Bad Girl : Book Review of Hit Parade Of Tears: Stories By Izumi Suzuki
Liber
2021
How Los Angeles Continues To Thrive In A Pandemic
GQ UK
How Lingerie Made A Quarantine Romance Feel Thrilling
GQ UK
2020
Tiger King Director Eric Goode: ‘I Was More Frightened By The People Than The Animals’
GQ UK
2018
Michael Heizer at Gagosian Le Bourget
Drugstore Culture (Scroll down to read)
Review of Gregor Hildebrandt show at Perrotin Gallery, New York
Drugstore Culture (Scroll down to read)
The Kakerlake
Drugstore Culture (Scroll down to read)
2015
A Few Days In Saint Barths
Holiday (Scroll down to read)
2013
Mr. Mischief: Remembering Malcolm McLaren
Vogue U.S. (Scroll down to read)
Vivienne Westwood Tried To Rewrite History And Erase Malcolm McLaren’s Fashion Legacy
Evening Standard
26August 2023
Loving Malcolm
A Rabbit’s Foot
22 May 2023
This Bad Girl: Book Review Of
Hit Parade Of Tears: Stories by Suzuki Izumi
Liber
23 April 2023
How Los Angeles Continues To Thrive In A Pandemic
GQ UK
20 March 2021
How Lingerie Made A Quarantine Romance Feel Thrilling
GQ UK
11 January 2021
Tiger King Director Eric Goode: ‘I Was More
Frightened By The People Than The Animals’
GQ UK
8 April 2020
Michael Heizer at Gagosian Le Bourget
Drugstore Culture
November 2018
Great art doesn’t need to be explained. You know it when you see it. It leaps onto you, like a wild animal. You may forget the details but you will never forget the feeling, and it changes you forever. It’s akin to a mystical experience and extremely difficult to find.
I was struck down the moment I laid eyes on Michael Heizer’s Slot Mass at Gagosian Gallery Le Bourget. Though made of humble material—metal and stone, it is poetic, powerful and that most rare quality: pure. Somehow this formation of two deep graded grooves clad in metal, chiseled through the gallery’s concrete floor, overshadowed by a giant boulder apparently plucked off a rocky mountain, has the remarkable ability to elicit emotion—to actually move you, and to also transport you to the American West, the myth of the American West, a myth that is real.
The work, originally installed on the California- Nevada border in 1968, mutely announces its lineage; it is undeniably American—the best part of American culture, its directness, the grand gesture of it, and its utter, effortless, elegance. The word “Sublime” echoes insistently about it. A classic example of Heizer’s unique “un-sculpture” or “sculpture in reverse”, Slot Mass is not just about a sculpture’s negative space, but Heizer’s original medium of removal, creating the negative and hewing it from the earth, and even more shockingly, leaving it to deteriorate. This integrity, the rejection of commercialism, seemingly at odds with American culture, yet not at all, is part of its power. A whiff of the American West wafts through the hall as an incredible vastness engulfs you and takes you beyond the confines of the gallery walls, into a limitless expanse. You commune with nature and the divine. Heizer has created the Sublime.
Beyond Slot Mass is the equally impressive Cilia, a rectangular well carved out of the ground, with metal slats peppering its sides like manic diving boards recalling the cilia of a cell. Off to the side is a room documenting Heizer’s work starting in the late 1960s as well as the Scoria Negative Wall Sculpture, another rough rock suspended in a metal frame set into the wall, like a religious icon.
In the mezzanine, are two sets of paintings. A triptych of two-toned geometric canvases from the 1970s and a recent (2017) triptych of irregular curvilinear canvases in white outlined in black. You expect to be disappointed after Slot Mass and Cilia, but no. Again so simple, yet so startlingly perfect. From Slot Mass to the paintings, Heizer sustains his greatness. Never does he falter—the ultimate cowboy artist. Laconic, intense, independent and cool as his work, there is no need to explain. His work speaks for itself and also, for its maker.
Review of Gregor Hildebrandt show at Perrotin Gallery, New York
Drugstore Culture
November 2018
“I am a lazy artist,” my friend, Gregor Hildebrandt told me sheepishly one day when I was visiting him and his girlfriend, Alicja Kwade (also an artist, more industrious), in Berlin a couple of years ago. The confession rang through my head and almost made me laugh at the absurdity of the comment as I wound my way through the path laid out by totemic columns formed of vinyl records at his latest show. It was like entering an underground club except it was an exhibition at Perrotin Gallery in New York entitled, In Meiner Wohnung Gibt Es Viele Zimmer (“In My Apartment There Are Many Rooms”).
I’d gotten to the opening extra early as I had a dinner to catch. When I emerged from the labyrinth and reached the heart of the show, I found him hard at work, in his usual rumpled black jacket and trousers, looking, as always, a bit like Christopher Reeve playing Clark Kent, if Clark Kent had been a groovy artist, rather than a reporter for the Daily Planet. He was describing the show to some understandably delighted collectors.
A total Pop cultural animal and emblematic of Generation X, Hildebrandt straddles the cozy analog world we remain nostalgic for, and the new virtual world we now live in, which is resolutely cold. His work is always based quite literally on music—walls (real and evoked) of sound. The medium is musical detritus—cassette tape, cassette boxes, vinyl records, VHS tape, CDs (all originally containing music or performance Hildebrandt likes), given new, glamorous lives as artworks with titles often referring to albums, song lyrics and sometimes films. The entire show is infused with music in one way or another and penetrates your soul. Though the departure is synthetic and technological, there is a warmth with a touch of retro decadence—very Berlin.
For years, Hildebrandt has been making paintings out of a specially developed technique of canvases covered laboriously with yards of magnetic tape which then have their coating stripped off to create images. But this time he’s outdone himself with a “video curtain” installation measuring nearly eighteen meters called Die Notwendigkeit der Hoffnung (“The Necessity of Hope”) inspired by the 1971 George Mathieu performance with the legendary composer, Vangelis, of the same name. It is the negative of a large scale installation exhibited at Kunsthalle Recklinghausen (Germany). Not only does he have his trademark paintings, but they are set in windows cut out of faintly fluttering walls composed of ribbons of tape (containing footage of the Mathieu performance) stretched onto wooden frames. The result is like the translucent paper walls in East Asian houses, often known in the West as the Japanese shoji. Even more impressive is that the black and white abstract images within the various paintings burst out of the canvas and splash onto the walls in the negative. I imagined Gregor and his assistants putting all this together. The amount of labor and its precision is phenomenal, and the overall effect is poetic, yet indisputably modern and original. Adjoining this installation are additional towers fashioned of fluted clamshell vinyl records (originally devised as kitschy bowls for chips found in Berlin flea markets). Meanwhile, more vinyl records—electric blue ones, cut into rectangles with their grooves going every which way have been turned into a very snappy geometric painting entitled Ins Blaue (“Into Blue”). A black version is called Kleines Feld (“Small Field”).
The lowly plastic cassette box, organized into stacks and colored, has been transformed into a delicate and haunting image of a woman in yellow, arms outstretched in a bleak industrial space, entitled, Folge dem Gelb (“Follow the Yellow”). It is a still from a re-enactment by Hildebrandt of the Mathieu performance. In the adjoining room, a series of small canvases, employing tiny bits of cassette tape leader, offer a sly Postmodern wink to music as they recall Mondrian’s Broadway Boogie Woogie.
Last but not least, in the connecting Perrotin Gallery shop, played a vinyl record (designed by Hildebrandt) by Paar, a Punky art school band, students of Hildebrandt, whose music seeps through the exhibition in repurposed audiotape and who would later play at the after-party. This was overseen by a series of shelves forming the “Pawn Shop”, chess pawns of all shapes, sizes and material, collected by Hildebrandt, a chess fanatic.
By the time I finished the tour, I felt energized. All I was left waiting for was the lights to dim and the disco ball to drop. As David Bowie, a Berlinophile sang, “Let’s dance!”
On at Perrotin Gallery, 130 Orchard Street, New York, until December 22.
The Kakerlake
Drugstore Culture
2018
New York City. When most people think of the Big Apple, they picture the skyline,joggers in Central Park, grand museums, fancy restaurants, yellow cabs, arty Bohemians in the West Village, maybe junkies in the grungy East Village and Katz’s Deli in the Lower East Side, Wall Street bankers, glamour, perhaps even King Kong, but the indigene that I, as a New Yorker, unfortunately cannot dissociate from it all, one who is undeniably, indelibly and inextricably woven into the fabric of this vibrant ultra urban city is the cockroach. I know they are not unique to New York City. They exist in South America, in Asia… and lots of other places. But I grew up in Long Island where there are none, and in Paris, where I’ve spent half my time for the past twenty years, I’ve never heard of a roach except in one of those giant high rise buildings near the periphery of the city. Certainly, in the rest of Paris, they do not exist. I have never seen one in any place I’ve lived, even when I was a student, nor on the streets. That said, at least I’ve always known the word for roach in French, “cafard”, whereas I didn’t know what it was in German until recently. I asked a German speaking Dutch friend and he seemed baffled. “You know, the insect that Gregor Samsa in Kafka’s Die Verwandlung, aka The Metamorphosis, turns into? That dirty disgusting bug!” I made some grimaces to get the message across. He scratched his head, thought for a minute and suggested, “a kakerlake?” I burst out laughing. (It sounds like “cacalaka” and “caca” in French means “doo doo”.) “That can’t be a real word! That sounds ridiculous.” He nodded his head and repeated, “I think it’s a kakerlake.” Incredible, to not even know the word for “cockroach”, because you’ve never needed it, presumably. (Vocabulary says a lot about a culture. When you study German, one of the first words you learn is “ordentlich” which means “orderly”, and then “Getreide”, which means “grain”, as in beer and bread, and you then learn the words for rye, wheat, barley… whereas in French you learn “grève” which means “strike” and “être en smoking”—to be dressed in a smoking jacket—i.e. black tie.)
In New York City—whether in Manhattan, Brooklyn, Bronx, Staten Island or Queens, roaches are unfortunately a fact of life. Hopefully, you live in a building that sprays—regularly—so you don’t need to interact, much. Even then, I’ve seen them scuttling across the sidewalk late at night. My Swiss friends recounted a traumatic experience this summer in Brooklyn, on a terrace where a horde of roaches came out of nowhere—crawling, flying, and swarmed over them. “It was like a horror movie,” my friend said, shuddering from the PTSD, her eyes huge. (Having come from Switzerland, it was remarkable she was even able to identify what the creatures were as she probably had never seen one before in her sheltered life.) When I read the artist Eric Fischl’s memoir, the main image that stuck with me was when he described lying in bed in a loft in his early years in New York City and the ceiling collapsed from the weight of roaches that showered onto him.
I’ve been fortunate enough to live in a building that sprays once a month. I am against chemicals but I make an exception for bugs, which I abhor categorically. I suppose I don’t mind the ladybug or the dragonfly, but give me a non-poisonous snake any day, instead of a roach. So in the eighteen years I’ve had this place in Manhattan, I’ve only seen two live roaches—or “waterbugs”, and three dead ones. I don’t know what the difference is between a “waterbug” or a “roach” but as far as I am concerned, “waterbug” is just a euphemism for a giant roach. The first time I saw one, my boyfriend was with me. I started to scream, naturally, and run away. When he learned why, he was scornful and logical for possibly the only time in his life, “You’re so much bigger than it. Why are you so afraid?” But at least he did deal with it and flush it down the toilet. The second time, I was less fortunate. I was all alone. It was crawling slowly across the floor and I had no idea what to do besides shriek with no one to hear, much less care. To squash it with a shoe would be awful—to see that gross goo come out… there would be a lot of it, because it was enormous! It would be too disgusting. I shrank with revulsion at the thought. What could I do? I couldn’t call the doorman. He wasn’t allowed to leave his desk. But necessity is the mother of invention. Without startling the roach, so it wouldn’t pick up speed, I stealthily pulled out the vacuum cleaner from the closet, plugged it in and sucked it up. Ahh… it was so satisfying. Mission accomplished in one clean stroke! But in a minute, I heard, cush, cush… cush cush… It had survived and was struggling to get free. I ran the vacuum again, hoping it would do the trick. But no, it was indestructible. (What is the saying? After a nuclear war, there will only be roaches and Keith Richards?) I could hear it, cush, cush, cush cush… What would I do now?
The problem was, my vacuum had the kind of vacuum bag that you have to empty and reuse. I’d have to dump the contents of the vacuum bag out into another bag and I was certain the roach would crawl back out and escape and I’d be back to square one, or worse-- I imagined it attacking me with vengeance. I couldn’t just throw the whole thing out. Again, I thought of going to the doorman, but it was too preposterous. I kept running the vacuum over and over, buying time, while racking my brain. Finally, I had the solution. After running the vacuum to stun the roach, I quickly opened the vacuum and put the vacuum bag into a plastic bag and tied it tight before the insect could recover. By the time the first cush cush sounds resumed, I was putting the entire thing into the freezer. I didn’t think even a roach could survive that. I felt very proud. But the job wasn’t completely finished yet. Though the days went by, I couldn’t bring myself to empty the vacuum bag with even (I hoped) a frozen roach. Before I was forced to need to use the vacuum cleaner again, I left town. Meanwhile, I’d had an idea. My Belgian friend was going to stay at my place for a few days while I was away. I figured he owed me. “Could you please do me a favor?” I wrote in French by email. “In the freezer, there is a big plastic bag with a vacuum bag inside. Could you take it out and dump out the contents of the vacuum bag into the garbage and throw it out for me?” Of course I didn’t explain why the vacuum bag was in the freezer and why I was asking him to do this for me. But he didn’t ask and what you don’t know doesn’t hurt you. Plus, he was a guy, after all. “With great pleasure,” he wrote back gallantly and then reported that the job was done. When I returned home a few weeks later, thrilled by my cleverness, I hunted around for the vacuum bag so I could finally vacuum. I couldn’t find it. I wrote my friend and asked what had happened to it. Why, he’d thrown it all in the garbage of course! “Oh no,” I wrote him. “You weren’t supposed to throw out everything, only the garbage inside the filter.” I could have done that myself, I thought. Ugh. I couldn’t just buy a new filter so I had to buy a new vacuum cleaner. That had been an expensive roach. But I made sure the new vacuum cleaner has disposable bags so when the new culprit arrives—hopefully not any time soon or even better, never, I’m ready.
A Few Days In Saint Barths
Holiday
Fall 2015
Mr. Mischief: Remembering Malcolm McLaren
Vogue U.S.
2013