Queer attendees enjoy the 24th annual event at the Tom of Finland Foundation
As cool air begins to blow through New York, Van Doren Waxter gallery reminds us of summer bliss, presenting This Marram, a show of TM Davy’s new painting/drawings of friends enjoying the Pines of Fire Island. It is the artist’s fourth solo exhibition at the gallery, this time featuring landscapes, portraiture, and the genre in between: people interacting with the delightful environment that surrounds them. Davy explains, “Every show I make is a personal meditation on love and life. The intimacies of my oil paintings have often developed through an intentional layering of time in my studio and home in Bushwick. But summer has a different feeling of time for me, not more or less intimate. Easier, perhaps, in the way that life and friendships flow more naturally and quickly across a beach and to a sunset. I found a way of making while I sit freely in the happening of that time and place, so the summer and the work could become one experience.”
All works in the exhibition are 14 by 11 inches — a portable size, easily taken to the site of inspiration, allowing Davy to observe and articulate various decisive moments ‘en plein air,’ subtly detailed with a flourish of gouache or oil pastel. His art may be understood as elaborating on the historical movements of Impressionism and Expressionism, taking the styles to a new height with hints of neon tonality and gestural, abstracted compositions of thick grass, textured clouds, and splashy tides. Arranged in the gallery space side-by-side, without frames, the collection is displayed sequentially. …
A party presented by Ty Sunderland with guest DJs Ryan Kenney, Alex Chapman, Lafayette and Dicap. Plus, performances by Charlene and Ruby Fox
In keeping with the current movement of painters queering the genre of portrait painting, 1969 Gallery in the Lower East Side presents Twice Over, a solo exhibition featuring the work of Rebecca Ness. Having completed a graduate degree in painting and printmaking from Yale of School of Art this year, Ness is adept at both articulating the human body and developing conceptual motifs. While the work has an academic rigor, it also has an effortless quality as it captures scenes of comfortable domesticity. The subjects of her paintings often demonstrate the power of relationships and the dynamic of micro versus macro, the smaller parts constituting the larger whole.
“Closet” (2019) shows a figure standing with their hands on their hips, their head cropped out of the frame. A mirror reflects the colorful interior of the closet, the racks of clothing forming a varicolored rainbow. The figure appears in motion as they try on a leafy green and white bottom to match a red, checkered sweater. The phenomena of mirroring in this work may serve as metaphor for the queer couple, building their own identities loosely and in relationship to each other, one of Ness’ overarching themes. Often, lovers wear each other’s clothing, borrowing from their companion’s wardrobe, adopting and imparting their sense of style. This may be particularly more common in couples that share the same gender. In other paintings, like “Sunday” (2019) and “Kiss” (2019), the artist and her partner are shown anonymously, their heads cropped out in focused compositions of bodies wearing colorful clothing and sneakers. …
The Boulet Brothers, Swanthula and Dracmorda, are the delectably evil hosts of Dragula, a competitive reality show shining a light on the freakish corners of the drag world. As fans of the duo and their show, we had a few questions we were just dying to ask.
How did you become interested in the macabre? Any dark, early memories?
DRACMORDA: We have both been interested in darkness, mystery and magic since we can remember. It’s interesting you ask that, because we recently moved, and I came across a collage I made when I was in school — sort of like a dream board. Our personas today, and Dragula, are literally everything that was on that board. It was a mix of 1950s sci-fi movies, haunted houses, 1930s dark movie starlets, extreme avant garde fashion — I mean it was literally Dragula.
How did you meet, and how did the Boulet Brotherhood begin? Do you have drag mother(s)? Who helped along the way?
DRACMORDA: Well, we don’t really do the drag family thing, so there are no mothers or daughters or thrice-removed cousins to speak of.
SWANTHULA: Much like the mythological story of Athena, who emerged from the forehead of Zeus, fully grown, the Boulet Brothers just appeared as completely realized beings.
Who are the Boulet Brothers separately? Who is Dracmorda and who is Swanthula, before the hair and makeup?
SWANTHULA: I have always felt that the great and powerful Oz’s fatal mistake was allowing anyone to see behind his curtain. …
The event was hosted by the Times Square Edition
Slayyyter’s debut inaugurates the new
Slayyyter first pinged our radar with her standout singles “BFF” and “Mine” over the last year, in which she emerged shockingly — almost aggressively — ready to take over. With Hustlers’ pre-recession extravagance domming the box office and Normani’s “Motivation” video single-handedly rocketing the early 00s back to pop culture’s forefront, Slayyyter is our first true heir to Britney Spears’ Blackout. She reformulates the icon’s decadent sonic finale to an epoch of celebrity excess and shamelessness. The density of Blackout, its grimy pink-and-blue oversaturation, its raw desire to wield acquired power — in short, those qualities that made it critically rejected the year of its release — are spun by Slayyyter’s post-ironic revelation of all the satisfaction that darker pop can bring to light.
We still haven’t had enough of “Mine.” This level of pop ecstasy—think “Vegas Strip fantasia,” “champagne and shotgun weddings”—has had no equal this year. The simplicity of the lyrics and Slayyyter’s hyper-emotive delivery (so excessively felt it’s almost parody, but never quite) creates a dreamy space within the propulsive, Uber-to-the-club type beat. In short, it’s a hit. “BFF” (“Smoking up inside my white Jeep / with the pink seats”) and “Daddy AF” (“Playboy in the grotto / I’ve been popping bottles / All night”) stand out as other examples of Slayyyter’s approach. Their production is dense, heavy, and hyperkinetic, well-suited to SOPHIE’s world. The mixtape vacillates in mood, but what remains constant is its intensity, its excess, and Slayyyter’s hypnotic, committed vocals.
While the pop of the 2010s documented our mass adaption to the internet (like Katy Perry’s use of “epic fail” in “TGIF,” and Taylor Swift’s caption-lyric “I don’t know about you, but I’m feeling 22”), Slayyyter feels born of the internet, molded by a newer imaginary. …
It's taking place every Sunday thru the rest of September a Metropolitan Bar
Featuring Forbidden Denimeries, Julia Heueur, Vanessa Schindler, Yvy and our dear friend Julian Zigerli