Ashley Rose Couture’s collections have always been a mix of the bizarre and the Harper’s Bazaar, but on Tuesday the Massachusetts-based designer really outdid herself by debuting a new line based on the medical specimens at Alamo Drafthouse’s creepy House of Wax.
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Okay, it’s not quite a Scratch N Sniff art exhibit, but it’s close. On a Tipped Chair, an olfactory-visual show at the Gallery at The Sheen Center, features a dozen oil paintings and drawings by Canadian-born Jared Boechler; half of them are accompanied by scents in the form of leather straps placed under tiny bell jars. Many of Boechler’s paintings are inspired by emotions triggered by a particular scent, from burnt durum to lemongrass.
If print is dead, Catland is determined to commune with the spirits. The Bushwick occult bookstore is planning to launch a print magazine, come Spring equinox.
At the helm will be Melissa Madara, an owner of Catland and a witch deriving her practice from Croatian and Pennsylvania Dutch traditions. “I firmly believe in analog media,” she told Bedford + Bowery. “I get a lot of questions, as the owner of a bookshop, about how long I think I’ll have my job in the era of Amazon and Kindle. I always just tell those people that they have no romance. The allure of bookshops and physical media will never go out of style.” She credits Catland’s recent fundraiser for laying the groundwork for this project.
Back in June, when Joseph Meloy and Alexandria Hodgkins saw an ad for a storefront at 53 Avenue B, they fell in love with the building, and understandably so: it’s light purple and its facade has palm tree, heart and animal shapes cast by the landlord, Antonio Echeverri. Within days, the married couple and their business partner, Nyssa Frank, had rented the 250-square-foot storefront to use as a Manhattan outpost of their Bushwick gallery, The Living Space.
Meloy, a native Lower East Sider, felt good about bringing a new art space “back home.”
For the past years, Company XIV has twirled, leaped and pranced– and not just during their bawdy, outre reimaginings of Snow White and The Nutcracker. Ever since the circus-burlesque-opera ensemble lost their Gowanus home due to flooding in 2012, they’ve moved every season, performing at Colonnade Row in NoHo, at Minetta Lane Theatre in the West Village, at the Irondale Theatre in Fort Greene and, most recently, at the Slipper Room.
In one of Liana Finck’s cartoons, a man and a woman sit at a bar. “I want to be upfront with you. I am a more or less functioning alcoholic,” he tells her.
“He is so self aware!” the girl with heart-shaped eyes thinks to herself, smiling.
When Toshi Salvino met me at a café in East Williamsburg, she sported wide-striped tights, chunky platform boots, black shorts, and a black t-shirt portraying an aurora-colored robotic goddess courtesy of Heather Hermann, an artist who worked under Yoshitaka Amano. Her bubblegum-pink hair was coiffed in a casual updo, and embellished by several ribbon-shaped barrettes. She had dotted her face with freckles and her eye makeup was vaguely reminiscent of Natalie Portman’s Black Swan; she wore a mauve metallic lipstick, which would make any other person look like Laura Palmer’s corpse.
The festival was the brainchild of a man who goes by MARS, the CEO of the Tokyo-based animation studio and creative ad agency Hot Zipang. MARS realized that Americans, happy to eat frankensushi in the ’80s, have since become more attuned to Japanese culture, to the degree that umami is now a part of their vocabulary. He decided this was a good time to showcase the country’s offerings.
Cotton Candy Machine, the South Williamsburg gallery owned by painter Tara McPherson and her partner Sean Leonard, is sending out a call for help. “Cotton Candy Machine needs your support,” reads an Instagram caption. “We just celebrated our 4 year anniversary here at the Art Boutique and Gallery and they say the first 5 years are the hardest for a small business. I hope the hardest years are behind us, but right now we need your help.”
Tis the season to celebrate the Lower East Side, so get thee to “Punks, Losers, Screw-ups and Goofballs,” a new exhibit at the recently opened 174 Rivington Street Bar and Gallery that celebrates the art of Cliff Mott.
Saws aren’t just for Texas chainsaw massacres — they can also be put to use by musicians, as the New York City Musical Saw Festival will show. Now in its eleventh edition, the event, presented by Natalia “Saw Lady” Paruz, will gather about 50 saw players from all over the world, from a 95-year-old who’s been playing for 75 years to a saw savant who’ll join the Astoria Symphonic Choir for a rendition of Mozart’s “Ave Verum Corpus.”
Composer Scott Munson, who wrote the soundtrack of Another Earth, will present a new arrangement of his work, where the saw will be accompanied by bells. There’ll be an orchestra of 20 players from Japan and, for the first time, a British “invasion,” with six participants coming from the United Kingdom.