Bard, Bread and Merce

My photos finally downloaded onto my laptop, so I'm able to post photos from a few weeks ago.

I accidentally dropped my camera so the screen is just white and there is no lens so all of these photos are by chance. Which is my most favorite situation to be in.

I love robots, and Stella McCartney loves them too apparently...

By the below the Highline Park.  
Nice balconies.
Outside the Merce Cunningham studios near the Hudson.  It was a beautiful day....
I loved this random placement of chairs.

I want to live in the very top floor of this building.

The backyards of Manhattan in the summer.

Inside the Merce Cunningham Memorial gathering.

I wore a vintage black dress that Donna has and looks similar to the black dress that Alexander Wang made for the 2009 winter season. It was the only black thing I could find.

 

They put beautiful photos of Merce dancing all around the studio, along with televisions that had different videos of his performances. Including our performance at the DIA:BEACON.

I love this photo so much. So, so much.

It was raining and sunny at the same time.  I think it was very therapeutic for everyone.

Around 6pm, everyone gathered in the main dance studio and welcomed Assistant to the Choregrapher, Robert Swinston, who asked everyone to participate in the prelimanary stretching routine:

Stephan and I joined in....

More posters and photos of and about Merce:

The set up in the smaller studio:

When I got to the studio, I met up with Stephan who showed me a little treasure from the catacombs of the Merce Cunningham studios:

looked like a TV dinner:

But it wasn't:

He's not sure what it is yet, but it looks awesome. He thinks David Tudor made it. He's so lucky to be a part of such an exclusive group of engineers.

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BREAD AND ROSES @ the Sculpture Center:

Sculpture Center for BREAD AND ROSES 101: Workshop / Performance / Installation by Elena Bajo and Jon Cuyson

"Bread and Roses 101" is a series of one on one discussions that seek to explore, imagine and implement new forms of protest by creating actions and strategies, while negotiating the production of space and consumption of time incorporating leisure as a way of resistance

The University of Trash at the Sculpture Center in New York will be a temporary site for this installation and performance conducted by artists Elena Bajo and Jon Cuyson. The artists will create within the University of Trash an evolving ‘stage’ composed of a diversity of found and existent materials (taken from the streets surrounding Sculpture Center) wherein the workshop will be conducted.

“Bread and Roses 101” will be a venue for social engagement and experimentation as it becomes open to a variety of participants who will be asked to attend the workshop for one hour each. Within that hour both artists will negotiate with the participant/s his/her intentions to create (or not) within the allotted time slot, thereby testing various forms of reality and interpersonal communication. Both artists will assist and/or participate in attempting to make the proposal of each participant/s a reality. All activities will be documented. All of the participants will receive a printed Certificate of Completion that will be created by the artists after their one hour of participation in the workshop.

--So Donna and I were invited to be a part of the Bread and Roses experiment. We spoke about leisure and work and how it coincides with our lives as artists. It was a great talk which ended with Jon giving us a certificate of completion. We said that we were "present" for the hour.  Some people played instruments, on lady wanted to watch the moon landing because she never saw it before etc. It was great.

This collaborative project aims to explore issues of new labor and capital, while focusing on leisure and Production of Space as a strategy to articulate resistance. Notions of chance and authorship as well as mental and physical limitations by both artists and participants will manifest as they attempt to integrate ideas that will determine the success or failure of each activity.

The project title was borrowed from a slogan that was used during a women’s textile workers strike that occurred in Massachusetts in 1912 “give us bread, but give us also roses”, and serves as the starting point for this project. This workshop is suitable for those whose interests are in work that do not merely represent a political issue, nor serve as propaganda but directly confronts and transforms the issue itself. If you are interested in radically engaged practices that look neither like art nor activism but take the best of both of these worlds that sit somewhere between direct action and performance, resistance and leisure then this workshop is for you.

In conjunction with Nils Norman and the University of Trash. I actually posted about him and his work a few posts ago. I'm a fan of his now. He has a very interesting approach to social architecture.  Very detailed.

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BARD:

So as a few of you know I am applying to Bard for their Summer MFA program in Sound Art. I am working on the application right now and will hopefully be attending next summer.

A 3rd year sculpture student created these great shirts out of rubber. 

They had this cheese. That was baked in bread that was flaky like a croissant.  It was danger zones.

MARGOT!! One of my new favorite ladies. She was there checking out the show and I went ahead and took her back with me and Donna.  We went to Cairo. Long story.

One of my favorite pieces. A video work of a story with blacked out portions, using phrases to recreate the plot. I love that approach. The recycling method. It's very 21st century to me.

Then there was this dark room with a disco ball thing in the middle that made the room feel as if it was moving. The kids really loved this one.  I did too. Those are kids walking around and falling over themselves.  I'm glad the camera caught it so well.

Lauren Luloffs installation was great. I wish the lighting was better, but again, I had no control.

THIS PIECE WAS BAD ASS!!

A large white room with these lights, and an audio installation of a man speaking, you are assuming that the speaker is Glen, and as he speaks the lights turned off and on to the rhythm of his speech. 

It ruled.

More sculpture students works:

The bridge to get to and from Bard.

________

The beginnings of a piece that Donna was creating for the store. Now it is part of my small but growing art collection. It looks amazing now. She went to Korea and brought him with her. He received a lot of attention.

My performance at Glasslands was a great success.  Susan Alcorn is so talented. I am so honored to have shared the bill with her and H.M.S. Beagle. They were great as well.  Thanks to all that came. I feel ready for my upcoming solo performance at Whitebox. More on that soon.

xo

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Memorial for Merce

On Monday I was told by Stephan Moore, one of the head sound engineers for Merce Cunningham, that there was a get together at the West Village studios. I brought my camera but the photos won't load, so I drew my favorite memory of the day:

Some of the people that came to the memorial were dancer "alumni" from the past 20 to 30 years. The organization decided to go ahead and hold a practice session and invited everyone to go to the main rehearsal space for the first stretching practice. I joined in, not knowing what to do but happy to be involved.  My favorite moment was when everyone, young and old, stretched to the left, perfectly synchronized from years of practice and experience from the best teacher of modern dance.  Their necks were elongated, their feet perfectly placed, and their fingers hanging lightly in the air. There was so much grace in the room. I tried to soak as much of it as I could.  Hoping that the grace would stay in my movements through the weekend.  

In the smaller studio space there were T.V.s set up with Merce's past performances and video footage of my residency. When I saw this I began to cry.  

Emotions like these make me think more about my constant practices of not recording for the sake of questioning the idea of ownership.  I didn't want to cry when I saw the old footage. The moment was gone and it remains in my memories and in my heart, which is what matters more than owning a copy of it. But I still had this human reaction to try to find and own the video.  I said it was for archival reasons, but inside I knew it was for the sake of the ego having "proof" of my participation with the company.  

When I asked the main administrator if I could get a copy, she said that I couldn't.  "it's only available on-line, all of the original footage from the dress rehearsal is somewhere at NYU waiting to be edited, and probably won't be for a long time."

And there it was, the taste of my own medicine. Bitter yet satisfying. I can't find it online.  And I'm glad.

I have always felt that Merce and I shared similar views when it came to owning and distributing works. And here I was, being confronted with the same situation that I have put others in for the past 2 almost 3 years.

This quote from Merce, pulled from his Obituary in the New York Times explains my philosophy completely:

You have to love dancing to stick to it. It gives you nothing back, no manuscripts to store away, no paintings to show on walls and maybe hang in museums, no poems to be printed and sold, nothing but that single fleeting moment when you feel alive. --Merce Cunningham  

I feel the same way about improvisation.  It's appreciating the moment rather than focusing on the future.

As Agnes Martin says, " The future is a blank page."  Who am I to try to fill it with false ideas that may never come to pass?

Merce, John Cage, Agnes Martin and so many other artists of the late 20th century preached the idea of the moment and presence.  This is why I am so inspired by their works.

Here are some photos from their flikr account, here is my proof. I hope my ego is satisfied, although, by it's nature, it never is:

http://www.flickr.com/photos/mcdc/

When I find the video I'll post it.  Or maybe not. Just to make my ego angry. 

Merce Cunningham RIP

I just heard today that Merce Cunningham passed away last night.

I am saddened by the news but honored to have had the rare opportunity to work with him. Here are some of my favorite memories from my residency with Merce and DIA:Beacon from past year. 

It was so weird too. As I was getting my store blog ready to show I posted some photos of him in a slideshow that has photos of influences for this coming fall season. I put his picture in the slide show 4 times in a row, as a tribute to him, not knowing that he had passed away earlier in the evening.  

Performing with Merce was one of the highlights of my sound career. I am proud to be a part of his musicians roster which consists of some of the best names in the sound field:

Maryanne Amacher, Robert Ashley, Larry Austin, David Behrman, Pierre Boulez, Paul Bowles, Earle Brown, Gavin Bryars, John Cage, Andrew Culver, Stuart Dempster, Baby Dodds, John Driscoll, Brian Eno, Morton Feldman, Serge Garrant, Jon Gibson, Louis Moreau Gottschalk, Alexei Haieff, Josef Matthias Hauer, Pierre Henry, Lou Harrison, Alan Hovhaness, Toshi Ichiyanagi, Ben Johnston, Norman Lloyd, Annea Lockwood, Alvin Lucier, Martin Kalve, John King, Takehisa Kosugi, Gordon Mumma, Conlon Nancarrow, Bo Nilsson, Pauline Oliveros, Emanuel Dimas di Melo Pimenta, Maxwell Powers, Michael Pugliese, Radiohead, Pat Richter, Erik Satie, Pierre Schaffer, Sigur Ros, Mikel Rouse, Igor Stravinsky, Ivan Tcherpnin, Yasunao Tone, Gregory Tucker, David Tudor, Ben Weber, Chou Wen-Chung, Christian Wolff, La Monte Young, and Walter Zimmermann.

Team Richard Serra, Merce Cunningham, Maria Chavez, Newton Armstrong, David Linton and Stephan Moore.

With Jasper Johns and Merce Cunningham. What a thrilling moment in time. They both loved that I was Peruvian. It was sweet.

A dancer in the studio working even after the practice period was finished.

My set up for "Experiments in the Studio" at Merce's studio in the West Village:

A large poster of Merce's partner John Cage hung in the main lobby. A sweet reminder of an amazing duo.

My favorite moment at the DIA:Beacon. Coming to the museum on the first day of our residency. As soon as I saw this Serra structure, I knew it had to be mine. Which goes against all of my practices about ownership, but I let this slide...how many times can one claim a Serra sculpture as theirs for a week?

Merce looking on as his dancers warm up. Merce simply clapped his hands and counted a rhythm. 1 - 2 - 3 - 4......It was beautiful to hear and watch.

Thanks to the Merce Cunningham Dance Company for inviting me to be a part of such an amazing residency. It is truly something I will never forget. RIP.

Houndstooth:Online

Please check www.houndstoothnyc.blogspot.com for some very exciting news!!!!!

www.houndstoothnyc.blogspot.com

Dibujos de Lima, Peru

On my last day in Lima, I met with my friends Guiseppe, Tomas and Sandra for lunch and vintage shopping.  We decided to met at Guiseppe's Artist housing project TUPAC and on the way there I realized that i left my fathers camera at the apartment.

So I decided to draw what I remembered after the day was done.  Coincidentally, Tomas bought me some color pencils earlier in the day because we needed change for a taxi.  

I hope you like them:

On the way to the restaurant, Giuseppe showed me an old dilapidated church in Baranco, a suburb outside of Lima. 

We walked down a cobblestone pathway that he said is hundreds if not thousands of years old.

As we walked down the pathway, the street got steeper and steeper, and we were met with this huge fence that some crazy rich guy lives in and has a little private zoo. On the fence were these incredible flowers that were burning reality with a purple fushia. I stared at it for 5 minutes to feel the color and remember it.  

Then we went to a typical Coastal Peruvian restaurant.  The guys ordered a big platter of different Peruvian dishes and some ceviche.

On the platter:

TIRADITO- like ceviche but cut differently

Pulpo con Crema- pan seared octopus in a purple cream

Jalea- fried seafood

Arroz con Mariscos- a saffron rice with seafood and peas and carrots

Conchas- (in the middle) crispy corn delights, for the munchies in everyone

Everything was amazing. The tiradito was incredible. The ceviche was the best. And I still think CHIMU is the best Peruvian restaurant in NYC. It is identical to the food I had in Lima.

Afterwards, we went to another cafe where we had a super sweet dessert and some coffee. 

We then walked through the center of Baranco, which is lush and beautiful.

That's a park. I guess I'm a bird's eye view person. I never knew...

We walked past this "La quinta" which is sort of small cul-de-sac.  High above the la quinta was a massive vine/tree/mushroom mess with these electric orange flowers glowing on top.

We got a cab and went to La Victoria, apparently the tough area of Lima.

We stopped on a street called Grau which was the start of a "chola market".  There was vintage clothing, new clothing, amazing electric colored tights for the winter, stereos, music, everything...

On every block were these small trucks filled to the brim with oranges and the loudspeakers talking about how their oranges were the best oranges and the other guys weren't fresh. It was great. They spoke so fast. 

the little dots are people, can you tell?

I'm a terrible drawer, but Donna likes them so I'm posting them..

Here's a detail shot of the market:

(it says Pantalones on the right hand side of the drawing, means pants, romance)...

After shopping, we went to Miraflores to meet our friend Luis (who set up the show at Sonoteca) and walked around the park. We heard some salsa music off in the distance and saw a large group of people gathered around this small rotunda:

And in the middle of the rotunda were older people dancing (geting DOWN) to the salsa music. Everyone watching were young and everyone was smiling. Then the music turned off abruptly and everyone, including me went "Aww!!!"

It was the first time I ever felt as if I bonded with the society that I was from. Everyone was Peruvian. I wasn't the only one anymore. And we all wanted the same thing, for the music to continue.  It was by far one of the best experiences of my life.

 

Tomas had a book about Incan music and musical scores, they were all so beautiful so i copied one.  

As you can see the pan pipes get smaller as the score goes on.  The sun is a symbol of how to play the score. I'm assuming it's a harvest song.

The Mochicas were the bloodiest of all the Inca tribes. Here is a man and woman playing the pan pies linked by string to symbolize their union.  It's said that this tribe would keep human heads as trophies predominately in their homes. Rotting.

I saw a drawing of some ruins and decided to re-draw it. And the bottom picture is an etching of an Incan ceremony. Not sure exactly what but they looked like they were enjoying themselves.

More posts coming in the next few days.  And a special announcement.....

xo

Space is the Place #9

Space is the Place #9

A private much anticipated first curated evening with J.Morrison.

J. Morrison is a regular collaborator/new family member of mine and has been presenting a rotating group of temporary art installations and performances.  It's called SPACE IS THE PLACE and you can read about it here: 

j-morrison.com

For this show, Space is the Place #9,  James showed an interest in the economic state of the country by asking his architecture friends who recently lost their jobs to create a piece for his private opening entitled "Fuck Architecture".

This show is probably my favorite of the series. It was uncomfortable, funny, present, thought provoking and very well curated.

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Ryan Mendenhall

Hollyhock

xeroxed paper

On a recent visit to Los Angeles, the mildly impoverished and slightly shoddy stat of Frank Lloyd Wright's iconic modernist masterpiece Hollyhock House struck me as a barometer of the state of American architecture under the current economic conditions. This visit coincided with the planning of the Fuck Architecture project, and I could not resist contributing a small booklet to the show based on my experiences at Hollyhock.-- Ryan Mendenhall

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Jennifer Harmon

"Detroit #8"

Acrylic, Ink, I iodine and thread

This mapping represents the confluence of industrial decay, hud housing and luxury gentrification within a small section of Detroit's waterfront that lies within the shadow of the General Motors Headquarters building. Here, the canvas acts as the ground plane and is manipulated to imply different levels of development or decay.--J. Morrison

-I really loved tis piece. The black squares represented the new yuppie housing that was replacing the project housing in Detroit. 

Children going to school.

The remark of the decay of the area, a nice touch.

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Jim Heimdahl

Separation Checklist

Stencil, paper, collage

Documents from his last employer

An interesting piece by Jim Heimdahl. I liked the size he chose for the letter to be. It made the document so personal and yet one couldn't help but find a dry, cynical humor about it.

Staff Reduction.

MUST be cleared.

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Wendy Klein

Untitled (1,000 houses)

plastic, hot glue, pencil

These small sculptures are made from 1,000 monopoly houses. A funny approach to the fall of the housing market.  Not only were the pieces interesting as objects but the placement of the piece was dead on perfect, being placed by a large window overlooking the Manhattan Skyline.

It was hard to capture the placement of the sculptures, but trust me, it was perfect.

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David Kuykendall

Letters to a brick wall

paper, tape

A brilliant display by David Kuykendall. This piece consisted of 175 emails and cover letters seeking employment sent out over a period of one year.

They all had a similar group of openings:

"Your firm came to my attention..."

"I came across your post on craigslist.."

"I am a passionate, deeply focused...."

"I am writing you to discuss my interest..."

While I believe they were in date order, as you got to the end of the piece the search for jobs becomes a bit more far out from his original profession.  I.e. Casino manager, hotel manager etc. A sign of the times and the need to become creative.

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Bureau V

Abacus

Mixed Media, books

The drawing's subject i Abacus, a site-specific performance and installation piece produces in collaboration with Lars Jan of Early Morning Opera that was commissioned by the Whitney Museum for its retrospective for it's retrospective, Buckminster Fuller: Starting with the Universe.  The project was unfortunately cancelled due to financial constraints.- J. Morrison

-This was a great representation of the plummeting sales in the art world. And in a way I feel that it's similar to what is happening in the fashion world.  It questioned the idea of environment, value and represented so many different aspects of luxury and displacement. 

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Erik Brown

Independent Geometric Studies

44 lb. paper, melamine-coated MDF shelf

As an architectural designer/project manager for single-family residential projects, my professional work involved schematic and developed design variations, and detailed drawings for final construction. This series of paper models begun as a creative reaction to my layoff, or professional disruption, in February 2009. Personal focus shifted from detailed 2 D drawings to abstract 3D physical models: polyhedra and other Platonic solids constructed from templates and printed multiple colors. The geometric studies serves as a reaction to, and an escape from, my previous work's design constraints.

For this show, additional paper models are created on 44 lb. paper, printed in new color multiples, and reproduced as variations of Platonic solids. The color schemes are derived from digital photos of previous residential objects on a shelf.  Architectural work is translated and transformed into geometric reactions and analogous representations.-- Erik Brown

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J. Morrison 

Untitled (Vito Acconci Seedbed)

Mixed media installation, possible performance

Seedbed was a performance piece performed by Vito Acconci during January 15 - 29th 1971. Acconci lay hidden underneath a gallery-wide ramp installed at Sonnabend Gallery, masturbating while vocalizing into a loudspeaker his fantasiesabotu the visitors walking above him on the ramp. The motivation behind was to involve the public in the work's production by creating a situation.--J. Morrison

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Matt Azen

House of Cards

Paper business cards

Business cards from his former firm

The house of cards. A funny approach to wondering what to do with all your useless remains of a former life as an architect. Use your past skills for a new project.  Build a house. Looked really sturdy and was large.  I really liked it.

While looking at this piece I saw my friend and pattern maker for my Houndstooth line, Hannah, wearing an incredible vest.

I want it so bad.  
Just stop already....

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Matthew Radune/ Logan Billingham

Brooklyn Endless

2' x 2' Translucent trash bags, industrial blower fan

The work "Brooklyn Endless" is more obelisk that architectural element. The title is a play on the lyrics from the Kraftwerk song "Europe Endless". Promenades and avenues, Europe endless, Real life and postcard views, Europe endless".  Endlessness exists everywhere, although within architectural design it is commonly prohibited or unpopular.

The collaborations of Matthew Radune and Logan Billingham explore issues of haeccity, or the "thisness" of things, within architectural discourse. In their last work, "Breathing Wall", the "thing" explored was a wall, which was activated by electronic components, and attained the capacity to breathe. --Matthew Radune and Logan Billingham

James and his boyfriend Ryan standing underneath Matthew Radune's and Logan Billingham's temporary installation.

I love them both, individually and together.

The deconstruction:






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Donna and I are juicing Inca queens:
Apples, spinach, kale, beets with leaves. Yum.

More soon.

xo

Peru 2

I like this sidewalk:

The poster for the performance in Lima.

Lima reminds me of Merida, Mexico, but with 12 million people:

Last dinner with the family.

By the beach:

And last but not least, a short video of me and my father dancing on a fountain. I love him very much:

more soon with drawings from my experiences in Peru and pics from the Quechua Couture installation with Marcella Faustini at EXHIBITION...

xo

Lima, Peru

Me with my father. I haven't seen him in over 3 years. I love him very much.

My little brother Rodrigo and me. He's the best. He is becoming my assistant whenever I'm in Peru. More on that later.....

Rodrigo with his mom Elizabeth. She's great.

Drinking Pisco Sours before the show...

The Centro Fundación Telefónica in Lima. It's actually a telephone company and they support the experimental sound community here:

It's a posh building:

The learning area:

The organization within Telefonica that curates all of the sound and video activities....

 
Set up, Rodrigo was excited....
Omar and Luis, the 2 organizers of Telefonica:

Luis, introducing me to their archival system for experimental sound art in Peru. It's a really incredible thing they have going here..

Getting set up:

Sound Check:
Luis explaining the organization to my Tio Eduardo and my tia...
I gave Rodrigo his first assignment as my assistant. Take good photos of me, and help me translate my theories of experimental sound. He did a great job:

The back of the Telefonica building. It was a great show, hopefully I'll have the video of it up within the next week:

Dinner with my family. The 2 young girls are my half sisters Paola and Carina. I've never met them before but they were very sweet. It was interesting to be a part of such a large family. After 28 years of just being a small family of 3 this was a new and welcomed experience...
Does anyone want to buy me this grammaphone?

Hot Matador Action.

The Center of Lima, has great doors...
On a roof in el Centro...
I was there for an interview the next day as part of a documentary that Luis is working on about Peruvian sound artists. Apparently Animal Collective and Black Dice were also interviewed....but they're not Peruvian...

nice.
Wearing Damir Doma leggings with a vintage shirt I bought when I was 16. I can't get rid of it. I love it so much. It kills bugs...
Interview:


The space that filmed me:

Me and my assistant. he did a great job helping me answer questions and and even helped with the lighting of the interview:

BOMBEROS
Lima, downtown.

Peruvian grafitti:
This reminded me of Rothko:

Wearing Norma Kamali. It's winter there, but nice.

Peruvian Punk. 
I like this building.
Record shopping with Luis. I found some bad ass Peruvian vinyl.

I want the man in the afro to play his pan pipe for me under a tree.

With Alan, a great sound artist and curator. We hung out at this music stand which is considered one of the best places to buy music in Lima.
An eletronics man.
A t-shirt of the first Peruvian noise group. I forgot their name, but I want a shirt.
A cassette mixer. Made me salivate when I saw it. I think thats normal.

A show poster at the music store:
TUPAC! The best dog in the world. Later that evening I DJ'd 2 parties, one at this artist residency called TUPAC. Info can be found here:

TUPAC: an artists' association/ non profit organization from Lima-Peru dedicated to produce and promote independant artists' pieces and events.

http://www.tupac-ac.org.pe/


I miss him.

Alan and Sandra, a fashion student and vintage store owner. She's bad ass...
Tomas, Manuel and Guisseppe, the director of TUPAC. He's a bad ass artist. Hopefully I will work with him on a Peruvian noise festival here in NYC....
Lukasz was there from Poland!! He's setting up my shows when I get there this October. 
Party was getting started:

One of Tomas's many toys..



Tomas performing. It was great.
My DJ set up for the night. Laptop style.
This guy played traditional Peruvian songs on this guitar. It was wonderful. I think he was trying to serenade me. 
The outside of the residency.

Warehouse party. 

This guy was having a great time.
I went with my father to a soccer game that his favorite team was in. He has a private box for the family. It was fancy.
Why do i look pregnant in this picture?

The private box. Was the size of a nice studio apartment in NYC.

We were below the "hooligan" area. It was fascinating to watch them. They danced and sang the entire game. A fight broke out. It was really interesting.
Imagine the whole group of people jumping up and down at the same time and singing.

it was incredible.

My dad is such a fanatic about this team, he even had the radio on of the game so he could listen to the commentary while he was watching the game. Precious.
Friends of the family, watching the game wearing the same team jackets. Like father like son.

So we won the game. After the last goal the "hooligan" crowd rushed to the bottom of the stairs and grabbed this tarp:
And pulled it out:
Those are hands under there...


It was beautiful to watch.
One second it was up and the next second it was gone... 

I'm having some life changing moments over here. I feel like I've grown about 100 years.

Tomorrow I go shopping for the store and finally eat ceviche. I can't wait.

xo 

SABINE LIEWALD

My good friend Anthony used some of our Houndstooth showroom pieces for recent photo shoot with Sabine Liewald. The result is beautiful Thanks so much guys. I'm so impressed.





He is wearing a Gaultier FEMME piece from Houndstooth. ($325)




The guy on the right is wearing a vintage Bolero jacket from a full suit that dates to the 1920's. It's an incredible piece. (SUIT $750, JACKET $400)




And of course, my indigenous side. Vintage indian woven blanket (1920's, $350) and "Davy Crocket" jacket from the BBC London Wardrobe Department sale. ($160)


Perfect casting and styling. Perfect, perfect, perfect.
m

Svetlana

She is incredible. here is her myspace:

myspace.com/svetlanaspajic


I performed with her at the PhonoFemme festival this past April. It was probably one of the best performances I have ever seen in my life. I couldn't stop crying afterwards. It was so beautiful.