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World Monuments Fund Honors Architect Peter Marino and Dr Marilyn Perry

The Venetian-inspired 35th Annual Hadrian Gala underscored the importance of preserving our most cherished sites

Afrodet Zuri

4 November 2024

Founded in 1965, World Monuments Fund (WMF) is the leading independent organization dedicated to preserving the world’s most treasured places. WMF has worked at over 700 sites in 112 countries. Through its biennial, World Monuments Watch program, the New York City-based non-profit organization uses cultural heritage conservation to empower communities and improve human well-being. In partnership with local communities, funders and governments, WMF inspires an enduring commitment to stewardship for future generations.

For their 35th Annual Hadrian Gala, held at the New York Public Library, the organization celebrated the preservation of global cultural heritage. This year’s event honored architect Peter Marino and Dr. Marilyn Perry for their significant contributions to safeguarding Venice’s architectural treasures. The gala raised a record-breaking $2.1 million, underscoring the importance of preserving the world’s most cherished sites.

The evening was a Venetian-inspired affair, with guests donning black tie and masquerade attire, adding an air of mystery and elegance. The night featured a performance by Grammy Award-winning opera singer Anthony Roth Costanzo and the Opera Philadelphia Orchestra. A dinner menu crafted by renowned chef Daniel Boulud echoed the theme with Venetian mask-shaped wafers accompanying the first course. The programming wrapped with a lively auction led by Christie’s.

Bénédicte de Montlaur, President and CEO of World Monuments Fund, emphasized the organization’s mission as a global movement dedicated to preserving cultural heritage. She noted the power of these efforts to foster respect and understanding across diverse communities.

Marino, recognized for his work with Venetian Heritage, expressed his gratitude for the honor and reaffirmed his commitment to preserving Venice’s unique architectural and artistic legacy. Dr Perry, a long-serving board member of World Monuments Fund, reflected on the organization’s growth and its pivotal role in the global heritage movement. Ultimately, the Hadrian Gala, supported by generous contributions from Gregory Annenberg Weingarten and the Stavros Niarchos Foundation, continues to be a vital platform for recognizing leaders in conservation and promoting the preservation of the world’s art and architecture.

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Performance Art Biennial Performa Turns 20

An artist party, featuring a Performa Archives costumes installation designed by Charlap Hyman & Herrero, ushers in a milestone anniversary for the pioneering organization

David Graver

1 November 2024

For the last twenty years, as the founding director and chief curator of Performa, RoseLee Goldberg has asked the art establishment and the art curious to keep performance top of mind and to consider its role in the historic development of other art forms. As a commissioning biennial, Performa has worked with numerous artists—many of the world’s most famous—to develop and premiere hundreds of performance art works within dozens of unexpected locations across New York City. This week, the organization celebrates its 20th anniversary with an artist party accompanied by a costume installation designed by Charlap Hyman & Herrero that features works from the Performa Archive—including pieces Marcel Dzama and Mike Kelley. It’s a theatrical exclamation point to the second decade of Performa’s necessary work.

Goldberg attributes her commitment to performance art to her upbringing in Durban, South Africa. “There wasn’t suddenly art and life,” she tells COOL HUNTING. “Art was all around. It wasn’t something that you just stopped at and said ‘oh look here is painting and sculpture.'” Goldberg pursued dance, as well as a fine arts degree—the two constantly vying for her attention. While studying at the Courtauld Institute of Art in London, she saw an Oskar Schlemmer Bauhaus exhibition. “The Bauhaus was the first institution that set out to bring all different mediums together,” Goldberg recalls, “as well as the first to have a performance department.”

When Goldberg accepter her first job, as director of London’s Royal College of Art Gallery, she applied her Bauhaus learnings. “I presented the idea of the gallery as something that could integrate all the different departments of the graduate school,” she says. This led, in many ways, to a unification of the departments, as well as an immersion into diverse explorations of space and time—from the sound work of Brian Eno to performance art with Marina Abramovic.

In 1979, Goldberg shifted perceptions in the art world (and beyond) when Thames & Hudson published her book Performance Art. The seminole work, which has been in print for 45 years and translated into several languages, was the first chronicle of the history of performance art, with an emphasis on time periods linked to explosive ideas and exciting collaborations. Goldberg wove the history of performance art into that of broader art history in an informative, inspiring and accessible way.

Founding Performa in 2004 became a way to overcome the obstacles still present in the potential for widespread acceptance of performance art. “When I started Performa it was to stay ‘I am going to make this clearer on a much bigger scale.’ I felt like up until that point performance art had been presented as a sideshow,” she says. Performa has been successful as getting both individuals and art institutions to recognize that performance art has been integral to the history of art and culture—and at expressing how performance is capable of shifting ideas.

In addition to offering performance art a larger platform outside of the museum framework, Goldberg had two other goals. “I wanted to create a community around artists,” she says. “When I started it in 2004, the art world was—and still is—dominated by conversations around money and branding. The artists were at the bottom of the line. Today, the conversation often isn’t about the artists. They aren’t writing the manifestos or running the show. I want to bring the attention back to the artists.”

Further, Goldberg wanted to be able to commission works never before seen. “I had gone to performances three nights a week, everywhere around the world, for years,” she says. “I needed to see things that were moving to the next level—that were not just a brilliant idea, but that were executed without limits.” Underscoring this was a vision to approach visual artists whose work Goldberg felt could translate to performance art and asked them, “what if you went live? What would you do?”

Performa prefers a collaborative position with their artists. “It’s not just, ‘here’s a commission. See you in six months. Here’s your date. Here’s your funds,'” she says. “We start from zero. It’s not like I’ve seen something in Paris and we bring it to New York. We are not presenters. We are commissioners.” Goldberg says she’s always surprised and exhilarated by what the artist produces.

Through the success of Performa, Goldberg has observed that more traditional art institutions now recognize that performance art is a great way to interface with their audience. “It brings the audience in,” she says. “They feel much more connected to each other as a group and to the work. There’s a sense of learning from it. Whereas if you put someone before something more abstract, they might say, ‘I didn’t study art.’ They might not know what to say. There’s a much more visceral response for people outside of art history. They see it. They feel it.”

Goldberg sees performance art as the medium of the 21st century—and she can clearly identify the role that Performa will continue to play. “This is a place where you will discover its history, and you’ll learn that its quite remarkable, whether you’re coming in as an economist or as a dancer or a filmmaker,” she says. “You will be excited about what this says about society and how we think about live performance.”

As for her thoughts on galas, Goldberg explains that while they are necessary to arts organizations like Performa for operational funding, she knew from the beginning that theirs needed to be different. In fact, their first-ever gala was a reference a Laurie Anderson piece from the ’70s. Everyone was asked to wear white and films were projected. In essence, the attendees were the screens for the films. For this year’s gala, Performa is looking toward its own history and extensive archives with intention. This is how Dzama came to be involved.

“I did a piece with Performa last year,” he tells COOL HUNTING, referencing “To live on the Moon.” “It was a film and musical performance about Federico Garcia Lorca. He had written a screenplay. The Lorca Foundation had given it to me. They wanted me to perform it but their funding fell through. Performa made it possible.” Some of the Dzama costumes at the gala were used by characters in the Lorca film.

When asked what has changed with Performa over the last two decades, Goldberg says not much. “We are as fiercely determined as ever to gather together the brilliant, creative souls of this city to show how art changes us,” she explains. “And, we are always moving forward. I always think you’re only as good as the next one.” Next year, Performa will place their groundbreaking performance art commissions throughout New York City for their 2025 biennial, running 1-23 November.

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Interview: NoMo SoHo Artist-in-Residence Stephanie Ketty

Expressive painted works grace the walls of this NYC hotel’s lobby

David Graver

31 October 2024

An expressive flourish of color and texture, gestural shapes and conceptual forms—all of these layers grace the canvases of NYC-based fine artist Stephanie Ketty. The current NoMo SoHo artist in residence, Ketty has works on display in the lobby; she also recently live-painted the mesmerizing centerpiece in the hotel’s penthouse. It’s been a busy October for the painter, who had an acrylic and oil wax crayon on canvas piece, “Sporadic Solitude” (2024) in ARTWALK NY’s Coalition for the Homeless: Benefit Auction 2024, and contributed “Everything is Promising” (2024) to an engaging group exhibit entitled The Collective II with the global arts platform and community Visionary Projects. Presently, Ketty is in the planning stages for three 2025 shows, one each in Paris, New York City and Los Angeles. In conjunction with her residency, we spoke with Ketty to learn more about her passion, process and palette.

Will you share a bit about the origin of this show? How did you become involved with NoMo SoHo and its residence?

I have lived in the neighborhood for years, and have always loved the property. I got connected through Highgate who reached out about a collaboration and, of course, I jumped at the opportunity. It just made so much sense. A lot of the work comes from my experiences in this neighborhood—all of the feelings and meetings and stories that have come from my time here. I think the origin of the show is really expressing that.

When did you craft the body of work on display here?

The 16 pieces of work on display were created in Soho over the past 15 years. However, the centerpiece of the show was created in the penthouse of the NoMo SoHo, surrounded by friends. It’s funny, I had never really painted in front of that many people before, but there was something about all of the light coming through at different times of the day, overlooking the neighborhood I’ve lived in for so long, that produced a different expression in me. The centerpiece is almost a reflection of the show itself, but with the levity of a higher vantage point meeting the intimacy of community. This piece feels like me inviting people into my work and my process, so it feels right that it’s in the center of the show.

How does new work start for you?

It doesn’t just start one way, from a tactical perspective. However, in the end it does come from a moment of feeling—sadness, joy, release, whatever. Painting is very therapeutic. My day job is very people-facing and strategic, so when I want to get emotion out I funnel it through my art. There’s very little pre-planning. It’s very “grab the palette and go to the backyard,” or wherever. I don’t really plan anything but the size of the canvas. I’d say the work almost starts itself as one of the only times I feel like I don’t have to think to express myself.

Can you talk about your relationship to the use of color?

Color, to me, is deeply linked to a range of emotions. Saturation, warmth, coolness, what have you, are all connected like fibers to memory or feelings I’m having or have had. Color has always been a language to me, and in a lot of ways is one of the core parts of why I started painting. I love finding passion and joy and energy in bold or hot hues, while being reminded of calm landscapes and the feeling of gratitude and stillness in cooler, deeper tones—a lot of those more tranquil notes I found in Oregon this summer with my boyfriend. I also think traveling and seeing new environments have helped me shake loose new ideas too. When I paint, I’m constantly searching to hone a visual language that will connect to people the way color connects to me. 

My paintings are my stories because they create constellations of feelings and connections and memories.

Is there something you hope people know about your art practice, or you hope they observe in your art?

I hope people know that this is what I was born to do. It’s a coincidence, I guess, that I landed a 15-year career working alongside some of the biggest brands in the world to help them tell their story, because within all that I find a lot of creative energy in those relationships, and with New York. I think after all this time I finally understand that I’m also a storyteller myself. My paintings are my stories because they create constellations of feelings and connections and memories. Though perhaps not linear, just like my journey as a painter, they tell the story of what the world looks like and feels like to me. I hope when people see my work they can tune into their own creativity too. 

Can you describe your studio or where you work—what does it look like, how often are you there, how do you use it?

I’ve always painted in my home. I also have a garden space at my place in SoHo. I paint on my bed, I paint on my couch, I paint on my roof. I paint wherever I paint! One of my goals for 2025 though is to build a dedicated space, even though I’m scrappy it would be nice to settle down.

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Specialized Bicycle Components Turns 50

An anniversary—and a program that endeavors to get one million bikes back on the road by the end of 2025

Katharine Erwin

30 October 2024

In 2024, it seems unfeasible for someone to sell a VW van for $1500 to fund the first chapter of a half-billion-dollar company’s journey, but in 1974, Specialized Bicycle Components founder and former CEO Mike Sinyard did just that. Now, 50 years later, the brand remains an incandescent leader in the bike industry, in part due to their insatiable need for innovation. 

Innovate or die has been one of the rules of Specialized Bicycle Components since the late ’90s when they underwent a soul-searching rumination after an unsuccessful attempt to sell low-quality bikes. The experience was a huge teachable moment that Sinyard describes as one of the biggest mistakes he ever made. However, decades later, the vision established after that era has been the guiding direction ever since and in some ways, it always was. Now, Specialized remains steadfast in its complete devotion to performance.  

“We say that we focus on the rider’s needs to provide technically advanced products that provide a performance benefit,” says Todd Cannatelli, Specialized’s Mountain Program Manager, “but I like to think what sets us apart is the amount that we’re willing to invest in our people and our facilities to deliver on that.”

Specialized has six product/innovation centers around the world—one in Taiwan, two in the US and three in Europe. As high-end bike brands have come and gone, it has been Specialized, the ever-evolving stalwart, that has found the best ROI in investing in R&D and listening to the rider. “Whether it’s here or our off-road office in Auburn or our e-bike development office or innovation center in Switzerland, we put so much into our team and to the facility to be able to do that,” says Cannatelli. 

At the same time, the brand finds the inspiration for the products they are developing directly from the source: the riders. “We definitely pay attention to how people are riding, where they’re riding and what types of trails are being built,” says Cannatelli. “Every riding scene, everywhere you go, there are super-dedicated diggers that are in the woods and they’re always building new features and younger riders are coming up. I’m almost 50 years old, but the stuff I was riding when I was a teenager was so pedestrian compared to what some 12-year-old throws a leg over these days and it’s just nuts.”

The Specialized team that is designing and developing bikes is always asking about what the riders are trying to do with their bikes, and how Specialized might try to be able to solve a problem that riders didn’t know they had. Much of this problem solving is informed by the various Specialized race teams that experiment with products for maximum performance. This input shifts what riders are able to do in various categories and allows them to push the limits. An example of this evolution, and blurring of trail space, is both the Epic and the Stumpjumper series. For years, the Epic 8 was a light, fast and snappy XC racing bike, and the Stumpjumper was the brand’s all around trail bike. 

“Things were sliced pretty clean. You would never take an Epic on a trail ride 10 years ago,” says Cannatelli. “Some Specialized Factory XC Team members specked out the Epic EVO frame last year for some really technical courses.” This resulted in a lot of podiums and the Epic 8 getting much more capable and the Epic EVO becoming even more capable to take on the down country category, “basically taking the place of the Stumpjumper that we had this past year, and the Stumpjumper 15 now really takes the space of Stumpjumper EVO. So these things are all kind of shifting in the spectrum.”

Specialized’s innovation is not limited to performance or even current riders. “For our 50th, our mission is to pedal the planet forward,” says Cannatelli “We’re focusing on the bike and getting more people on bikes. We feel like the solution to a lot of the world’s problems is on the bike.” With the same ethos of Outride, the non-profit organization founded by Mike Sinyard that “provides research, cycling programs, and funding to empower all people to experience the social, emotional, and cognitive benefits of cycling,” the ReSpecialized Program endeavors to get one million bikes back on the road by the end of 2025—citing that cycling can contribute to the betterment of the world.

Specialized estimates that ReSpecialized will “light up one million brains, delivering significant social, emotional and cognitive benefits” based on the research done by Outride. With the one million bike aim, the program estimates that they’ll reduce global carbon emissions by 438 million kilograms of CO2, burn 25 billion calories and reduce screen time by 66.6 million hours. 

To get the wheels turning on this mission, Specialized is offering free tune-ups and discounted repairs at participating retail locations worldwide to “any rider, with any bike bike, from any brand.” For a formidable brand like Specialized, the ReSpecialized program is an opportunity to bring innovation into their sustainability and their “the rider is the boss” mantra.

“I think listening is the most successful thing the company’s done,” says Cannatelli. “There’s a culture of curiosity here, and I think a lot of the company’s success is due to that curiosity and to genuinely listening. I don’t think we would be where we are if we thought we always knew the answer.”

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Interview: vowels Creative Director, Yuki Yagi

Insight from the Japanese designer on his debut NYC store and its on-site research library

Mike Tommasiello

23 October 2024

Japanese designer Yuki Yagi’s brand, vowels, recently landed in NYC and has become a haven for those looking not just to be inspired by archival fashion, architecture, design and media, but by the well-curated and tailored selection of pieces he has designed for the community. vowels specializes in high-quality pieces—and craftsmanship and attention to detail set their garments apart. Serving as both showroom and library, vowels New York has redefined the modern shopping experience. We sat down with Yagi to chat about how he brought this vision to life. 

Can you tell us what made Bowery the perfect location for vowels’ first US store?

We chose Bowery as a good balance between SoHo and the LES for building up a community. We wanted to be downtown as a lot of our community and collaborators are based in that area so Bowery was the perfect place to connect with new consumers and our existing community.

We’re intrigued by your in-store research library concept. Can you tell us more about the vision behind it and what types of materials you’ve curated for it?

The concept is to provide a space where people can dive deep into creative inspiration and knowledge. It’s meant to be a resource for anyone but especially those in the fashion, design and art worlds where customers and creators alike can explore and refine their style and ideas. We’ve curated materials like vintage fashion magazines, rare design catalogs, historical photography books and art publications that reflect the brand’s unique perspective and concepts. We also include contemporary resources related to current creators and trends, ensuring the library is always a place of fresh discoveries.

The idea of incorporating a research library into a streetwear store feels so innovative. What role does research play in the creative direction of your collections?

For my designs, I often begin by delving into the materials available in our research library. When people come into the store, they can see that many of the books are marked with notes that show exactly which books I used to design pieces in our collections.

Do you see this library as a space for customers to explore and be inspired, or is it more of a resource for the design team? Perhaps both?

The research library is a place for customers to explore and to be inspired. The office in Tokyo has its own selection of books used for seasonal design inspiration. As a team, we use the library to enhance our designs and grow on the method of Shu Ha Ri (守破 離), where one must master the fundamentals of a creative practice before breaking those rules and reconceiving the form.

With sustainability becoming a key focus in fashion, does your research library include any special focus on sustainable materials or design practices? How is vowels approaching sustainability within your collections?

Our approach to sustainability, particularly is rooted in supporting local economies and craftsmanship. By working with local manufacturers and artisans in Japan, we are not only ensuring high-quality production but also helping sustain the economic ecosystem of these regions. This, in itself, is a form of sustainability—one that preserves traditional methods, provides jobs, and keeps communities thriving. Additionally, the high quality of the products ensures they last much longer, reducing the need for frequent replacements. This longevity contributes to sustainability, as well-made garments not only have a smaller environmental footprint but also offer lasting value to the customer. By combining craftsmanship with durability, we focus on creating pieces that stand the test of time. 

Many streetwear brands cater to a specific subculture or community. How would you describe the community you’re building through vowels, both in Japan and now here in New York?

We’re creating a brand that hasn’t really existed before, shaping it as we go, and discovering what it means to us and those who resonate with it, both in Japan and now in New York. It’s an evolving journey that reflects the uniqueness of this moment.

As someone who straddles two vibrant cities—Tokyo and NYC—how do you see these two worlds influencing one another within the streetwear scene?

I think that Tokyo and New York each have their own vibe, but they influence each other in a natural flow. Tokyo’s precision and detail mix with New York’s bold creativity, creating something fresh. Both cities are all about self-expression, and that constant exchange keeps streetwear evolving, with each taking and reworking what they find from the other.

What do you hope people will take away from visiting your Bowery store? Are there any special experiences or exclusive collections in store for those who come by?

I hope people will frequent vowels, given that we are continuing to build out programming efforts for the space. That said, we’ve hosted lectures and screenings tied to the library’s contents, the architects behind the design of our space ANY [Michael Abel + Nile Greenberg[, and more casual record listenings and hang outs.

Finally, if you could sum up vowels’ philosophy in three words, what would they be?

 Never stop learning.

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Attending the 2024 FotoFocus Biennial: Backstories

For the duration of October, 107 photographic projects from 86 participating venues have opened across greater Cincinnati, Dayton and Columbus, Ohio, as well as Northern Kentucky

David Graver

16 October 2024

For anyone on the quest for a comprehensive, diverse discourse on the future of photography as an art form, look no further than the 2024 FotoFocus Biennial. Headquartered in Cincinnati, Ohio (with participants in Dayton, Columbus, and at Kenyon University, as well as in Northern Kentucky), FotoFocus brings together museums, galleries and non-traditional spaces under one unifying theme that links programming for the month of October (and, in some instances, beyond). Leading regional, national and international photographic talent showcase work in these institutions, and a thought provoking symposium deftly explores the nuance of the theme. Perhaps of greatest importance, all of this is free to explore thanks to the Biennial Passport program, which is underwritten by a handful of donors.

This year marks the seventh iteration of FotoFocus, which was formalized in 2010. “The theme is Backstories. We always try to pick a theme that is intrinsic to photography but also says something about what’s going on in the world,” Kevin Moore, the artistic director and curator of FotoFocus, tells COOL HUNTING. “This theme has to do with the way we parse through information, especially images or anything that’s told to us these days, and the essential nature of backstories to how we understand what’s going on in the world” Moore adds that an expansive idea of what photography is underpins the biennial, as well as “who is involved in it and who it affects.”

“Our mission is to inspire conversation about the world through the art of photography,” Katherine Ryckman Siegwarth, the executive director of FotoFocus, adds. “We are not a technical institute. We are looking at ways to engage and expand our interpretation of the world, have conversations with people, reveal new ideas that we can all better empathize. In the last three years, there has been a greater emphasis on shining a light on the stories in the margins and unwrapping histories that have been left out of the full context. ‘Backstories’ plays into that.”

In many ways, the theme is integral to participation. According to Siegwarth, the declaration of the theme stimulates ideas in regional institutions. It acts as an invitation, and it sets a course. “We’ve seen more people joining the fray, with pop-up spaces or getting spaces,” she continues. “One of the unique things about us is that, while Kevin develops the theme, it is an invitational. We have a lot of relationships with some of the larger cultural institutions. With them, we have conversations to see what projects they might produce or how we can help to place exhibitions—but the majority of our projects are people applying to participate. We have a huge range of thoughts around this one idea.” 

This year, FotoFocus introduced an additional, expansive measure to involve the local community and the midwest as a whole with their first-ever Call for Entry Selection. Housed in the Art Academy of Cincinnati (AAC), a series of exemplary exhibitions—Another First Impression, Digressions, Humphrey Gets His Flowers, Deeply Rooted, Contested Ground and Student Reflections—resulted from the public call. Each was as different—and valuable—as the other.

For Digressions, photographic collaborators Mark Albain and Joshua Berg assembled a selection of moody, evocative images—some in color, others in black and white. Underscoring the assemblage, was a sense of focus derived from a series of conversations they had, recorded, transcribed and edited into a book. They used insights from this to revisit their respective bodies of work. “We were inspired to go back and re-contextualize it,” Berg says, “and think about it from the place where we are now in our life. It was curated in response to the life that we were living.” This process brought clarity to years of imagery.

“This work spans from 2016 to 2024,” Albain adds. “Throughout the conversations we serendipitously pinpointed 2016 as a year for both of us where our photography shifted. Life events happened. It was the starting point where we would go back to.” Their images require pause and reflection. A mattress appears to be something more, a glimpse toward flora stirs feelings.

Beyond the AAC, Cincinnati’s FotoFocus footprint encompasses a powerfully expansive Ansel Adams show at the Cincinnati Art Museum, Memory Fields and Rachael Banks: The Trail of the Dead at Weston Art Gallery, Southern Democratic at The Carnegie, and so many other highlights. Ultimately, the sum of FotoFocus is greater than its parts; it’s not one singularly impressive show, but so many world-class curatorial efforts in concert.

Between Columbus and Kenyon College, a trifecta of venues host Ming Smith solo shows, which paint a dynamic depiction of the fine-art photographer. Smith, the first Black woman photographer acquired by MoMA, grew up in Columbus and her shows at The Wexner Center for the Arts and the Columbus Art Museum demonstrate her immense influence on the art form. The former, Wind Chime, incorporates an astonishing multimedia commission—that incorporates a soundtrack by her son, Mingus Smith. The latter weds two distinct exhibitions, August Moon and the utterly mesmerizing Transcendence. At The Gund at Kenyon College, the final piece of the photographic puzzle sets into place with Jazz Requiem – Notations in Blue. Each exhibition can be savored alone, but the strength of Smith’s work certainly compells one to see them all.

Attending FotoFocus this year provided COOL HUNTING with the opportunity to step into the structure that will become FotoFocus’ permanent home early next year, designed by architect Jose Garcia. “Our signature event is a biennial so for many people we are this kind of pop-up,” Siegwarth says. “This space will allow us to engage with the community on a daily basis with year-round programming. It’s a foundational shift. It’s great what we have, and we have wonderful people who attend—but we have a lot of people who attend but do not realize they are attending FotoFocus events. With this next step, we can help people understand to better all the things we do. That’s why the evolution around the FotoFocus Center is so important. We can sustain the conversation.”

The FotoFocus Center will include just shy of 5,000 square feet of gallery space over two floors. It’s expected to host two to four exhibitions per year, and complement the art programming already underway in Cincinnati. The building itself is set to be architecturally significant—and simply beautiful. “We had to think about what the history of the neighborhood was and what the materials here were,” Moore says of the development. “We looked to factory windows and the common building style around here. We even drew parallels to stairwell as the viewfinder of a camera.”

As important as the FotoFocus Center will be, equal importance will continue to be placed on all of their partner venues—like the Contemporary Arts Center (designed by Zaha Hadid). For this biennial, it hosts two of FotoFocus’ strongest highlights: a retrospective dedicated to 25 years of work from pioneering German photographer Barbara Probst, entitled Subjective Evidence, and a mixed-media exhibition exploring the work of American photographer, activist and physician Chip Thomas, entitled Chip Thomas and the Painted Desert Project. Moore meticulously curated both.

Beyond the walls of the Contemporary Arts Center, Thomas will wheat paste a depiction of legendary Cincinnati street artist William Rankins Jr, who has since gone blind. The large-scale will adorn a wall of the local restaurant Ollie’s Trolley, alongside one of Rankins’ own murals which sustained damaged over the years. Though it will be layered with varnish, the very nature of wheat pasting is ephemeral and, as such, the moving tribute will only last so long.

In Miami recently, Moore participated in a panel discussion about biennials taking place all over the country. “What I learned from that conversation is that we at FotoFocus started in much the same way that many biennials start, trying to energize a region and trying to bring arts into the economy,” he says. “There was already a lot of street art in Cincinnati, and sanctioned murals. It’s a city of public art, which speaks to its history. Our biennial is formalizing what has been going on in the city—and with the FotoFocus Center, we are evolving beyond the concept of a biennial.”

“Photography has always been my interest because it speaks to our daily lives,” he adds. “It’s not just something that you see in a museum. It’s on our phones. It’s everywhere. It’s controversial and problematic, in so many ways, as well. If you look to its past, you can see a history of a strong engagement with social impact.” FotoFocus does not ignore the complexities of the medium. Rather, it addresses them, embraces them, and amplifies the importance. With a physical institution on the horizon, it will only grow in importance.

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Craft and Industrial Processes in Dialogue at EDIT Napoli 2024

Made by hand—or machine—these pure forms impresses us this year

Paolo Ferrarini

14 October 2024

The value we place on the handmade has led, in recent years, to a fascination with design that features imperfect forms, where evidence of the hands of makers are often more appreciated than the extreme precision derived from the use of machines. However, our observations at EDIT Napoli this year revealed a shift toward pure, bold geometry, characterized by simpler shapes, flat surfaces and often vibrant, playful colors. 

The Neapolitan fair—dedicated to authorial design—has, since its inception, been able to capture emerging trends in the sector, and this year is no exception. In the magnificent halls of the Naples State Archive, amidst established companies and emerging designers, we discovered a diverse array of projects—using aluminum, ceramics, porcelain, plastics, and techniques that range from digital printing to additive manufacturing. Handmade items were still present, and part of the fun of the fair was determining whether an item was born from the hand or the machine.

Arianna De Luca and Artetica

Roman designer Arianna De Luca unveiled Carosello Artigiano, produced by Eleit. This whimsical collection of bowls and containers is meant for savoring gelato, and was designed in collaboration with master gelato makers. Alongside this pastel-colored series, her delightful ceramic candle holders and mirrors framed in vivid hues captured our attention.

From Milan, Giorgia Conte and Sergio Di Pilato of Artetica brought a touch of surprise with their U collection, an intriguing series of handmade objects with digital-inspired forms. The ends, punctuated by two large holes, can be customized with incense holders, ashtrays or small vases for plants or flowers, making each piece a playful and functional design. In both collections, vibrant color and sinuous curves take the spotlight, adding a joyful twist to the world of ceramics. 

Tamborrino and Marco Ripa

Metal also took the stage at EDIT. Officine Tamborrino, a family business from Puglia, has been crafting steel furniture for three generations. For EDIT, they presented a curved version of Dedalo, a modular bookshelf designed by Alessandro Guerriero and Licio Tamborrino. The vibrant yellow color and the choice to adorn the surfaces with a collection of medicinal plants created a perfect dialogue with the frescoes and botanical collection in the historic hall.

Marco Ripa, on the other hand, embraced aluminum for the India collection, designed by Atelier Ferraro and entirely produced in the Marche region. Large tables with rounded edges and curved legs, ideal for both indoor and outdoor spaces, were paired with chairs where every weld was handmade and seamlessly invisible, resulting in pieces of absolute purity. To top it off, the India series is 100% recyclable.

MOT and M’Ama Edizioni

MOT stands for Memories of Today, a thoughtfully curated collection by Stormo Studio that brings memory-filled items to life. Defined by stainless steel, clean lines, bold colors and a variety of finishes, this collection of candle holders and vases transforms the way we display candles and flowers, offering unexpected and creative domestic landscapes.

Stainless steel and geometric shapes are also the centerpiece of Ballerina, an outdoor kitchen designed and crafted by M’ama Edizioni. Like a dancer, this perfectly round, freestanding element turns around it its center and is draped in vibrant, skirt-like fabrics that add both color and character.

Bluecycle and Mediterranea

3D-printed objects were featured at EDIT as well. Greek company Bluecycle transforms discarded fishing nets, once a threat to marine life, into playful furniture. These recycled materials are given a new life, becoming colorful tables, bookshelves and chairs. The innovative use of color creates dynamic gradients, formed by hand in real time as the machines layer the plastic, making each piece truly unique.

Mediterranea Design presented SuperEasy, a collection of 20 vases and containers crafted from PLA, a biodegradable plastic sourced from renewable and sustainable materials. These pieces stand out with their bold colors and playful, minimalist geometries.

Trama Studio and Marco Zelli

There are many ways to illuminate our living spaces, and Trama Studio offers a unique approach with Kandela, a collection of architectural beeswax candles. Designers Manuela and Francesca Pucciarini drew inspiration from Renaissance arches and columns, flipping these classical forms upside down to create vibrant, all-natural candles.

Meanwhile, Marco Zelli’s lamps resemble sculptures more than traditional lighting. Inspired by the minimalist works of Donald Judd, these pieces feature shiny surfaces painted in cyan, magenta and green. The design cleverly conceals the lightbulb, casting a soft glow that transforms the surrounding space.

Spaziointerno and Atelier Nuanda 

A “stipo” is a small cabinet, traditionally crafted from fine wood and adorned with intricate decorations, used for storing precious objects, papers and documents. This piece was popular until the 19th century. Parthenope, a new interpretation by Spaziointerno, reimagines this almost forgotten marvel. The cabinet’s wooden doors showcase a classic view of Naples, brought to life through an ancient inlay technique.

Atelier Nuanda interprets another classic piece: the folding screen. Their twist features repeating aluminum modules, artfully connected by a sophisticated leather weave, handcrafted from reclaimed leather.

De Marchi Verona and ISADxForma&Cemento

Design also allows us to play with geometric forms through surfaces. De Marchi Verona has introduced Numen, a new collection of indoor and outdoor porcelain tiles, designed by Doriana and Massimiliano Fuksas. It’s porcelain, not ceramic, and as such a material is incredibly durable, enabling decoration with a level of refinement and depth of color that other materials simply cannot achieve. The result is truly spectacular.

As for other unusual surfaces, Forma&Cemento collaborated with the Mexican school ISAD to create “Una gota en la Arena,” a collection of concrete sinks. The surfaces were crafted by reinterpreting classic elements of Mexican imagery, developed during a workshop held in the Chihuahua Desert and led by designer Alessandro Gorla, held in the Chihuahua Desert.

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Alaska Thunderfuck 5000 on Bringing “Drag: The Musical” to NYC

The drag superstar tells us about balancing the glossy, messy, realistic and heartfelt sides of the art form

Katie Olsen

10 October 2024

Developed over many years and debuting in LA in 2017, Drag: The Musical has just started its off-Broadway run. Currently starring Alaska Thunderfuck 5000 and Nick Adams along with well-known drag performers Jujubee and Luxx Noir London, the show was developed by Alaska (aka Justin Andrew Honard), Tomas Costanza and Ashley Gordon; and just last week brought Liza Minelli on as a producer.

Focused on two drag houses “both alike in indignity,” Drag: The Musical centers on the rivalry between the Fish Tank, led by Alexis Gillmore (played by Nick Adams), and the Cathouse with Kitty Galloway (Alaska’s character) at the helm. A story that navigates identity, family and forgiveness, the show might be packed with glitter, glitz, feathers, wigs, wordplay, puns, posing, dancing, singing and Broadway bops, but it also embraces the gritty, messy and tender moments.

We spoke with Alaska ahead of the NYC debut, about musicals, Rusicals, creative influences, wigs, performance problems and creating a show that will make audiences laugh—and hopefully also cry.

Drag is an art form, no doubt. But do you self-describe as a drag artist?

When I go to another country and they ask me to write my occupation on a form, I write “artist.” That’s not because I’m like, “Chica-ca-ca! I’m a lofty artist,” it’s because I don’t want to get further questioning from people. But I do feel like at my core, drag is my chosen art form—the art form that chose me. Believe me, I tried other avenues and they never worked, but it was when drag came to me, and I came to it, that’s when things started to make sense, and things started to really like work, and I had a vision, and I had an idea of what I was doing. I’m grateful for artists like RuPaul and Jackie Beat, who are drag queens, but they get to do kind of everything. They get to be an actor, and they get to put out music, and they get to write a book, and they get to be a model and be on stage and be funny and do all of that stuff because I like doing all of the stuff.

The show embraces the not-so-glam or polished side of drag—maybe some of the messier parts. Why was that important to share with audiences?

Because often you see stories that are about drag or that feature drag queens and it’s like feathers and a sassy comment and that’s it. But if you’ve ever done drag or been in a drag queen dressing room, you know that the toilet is leaking and the ice machine is where you set your fucking mirror, and I wanted to capture that essence of that reality of drag so that it had authenticity and it didn’t feel like just a sort of one-note representation of what it means to be drag.

You have blended real-life relatability with high drag fantasy and the absurdity of breaking into song. Was that a balance that came organically or did you have to really work at it?

It feels like it was kind of that balance was struck even as we were writing it, before there were any other people involved because we knew that we wanted to fire on all cylinders. This isn’t a Rusical. We don’t want to just get a few cheap laughs and then get out. I mean, you’re laughing, it’s absurd and it’s stupid, but also there’s some serious things going on. It might really touch you in a place you weren’t expecting—your heart or in your spirit or your inner child. That was really important and we wanted that balance. Once we had audiences, we were like, “Oh people are crying during the song. This is great.”

Do you prepare differently to perform as Alaska vs your character Kitty Galloway in the show?

Kitty is different from me in a lot of ways. She’s kind of like Joan Crawford-ish. She’s in control, she’s got her eyes on everyone and she’s keeping everyone calm in the face of complete disaster because she knows exactly what to do. She says everything right and speaks very flowery and eloquently. She’s basically a lot of things that I’m not; like, I have complete, crippling doubts about everything. But as far as preparing goes, I do the vocal warm-ups that I would normally do. It’s still my body and my voice…but I have black hair.

She has range.

[laughs] I’m an actress! 

Speaking of black hair—there’s a little Frank-N-Furter, but maybe also some John Waters and Divine, La Cage Aux Folles, punk throughout a few different eras. Was there anything specific that you wanted to draw from when it comes to music, costume or aesthetics in the show?

It’s all of those things that you mentioned. And a lot of that is Tomas, because he’s a rock’n’roll straight guy. The drag he likes isn’t the pretty, polished, nice drag; he likes the gritty. He likes the gender fuck. He likes it to be a little bit sideways. And I’m that way too. My favorite musicals were always the wacko musicals, like I love Hair and I love Rocky Horror. Coming at the show with that in our blood really helped bring all of that out in all of these girls.

The show was developed over many years and you keep tweaking it as you go, but can you tell us a little about the changes you’ve been making since performing it?

It was really once we had human beings perform it that it became a living, breathing thing. That’s when it really snapped into place for me and I was like, “This is fierce. This is major. This isn’t just a thing in our imaginations. It’s real.” Getting to hear people who are amazing at singing sing these songs and watching people who are fucking hilarious say these jokes and then make things that aren’t even jokes into jokes—that’s been really thrilling. We’re at a place now where we’re fine-tuning, and a lot of it is like algebra; trying to make the jokes that are a laugh into a totally gut-busting laugh. That’s where we’re at now.

There are obviously plenty of similarities between Broadway and drag performances, but were there any different skills or muscles you’ve been working at more in the show?

It’s hard doing the same thing over and over again. We’re doing eight shows a week. But I will say our musical is very living and breathing so it is kind of different every night. So my fear of like, “Oh God, I have to do the same thing, and I have to say it the same way”—that fear was alleviated once we were doing the show. And drag is like that. Something that’s really funny today might not be funny tomorrow, and vice versa.

And there’s so much that can go wrong. Your shoe might fall off or your fucking hair might get caught on a thing, like Vida Boheme, in which case, we go with it! The show doesn’t come to a screeching halt. I was scared of that sort of doing the same thing every night, but I found once we were doing it, it’s like, we’re all still drag queens.

Your experience surely prepared you for all kinds of performance issues. Do you find yourself leaning into the problems if and when they arise?

Oh, I love it when things go wrong. It’s the best. Someone’s phone went off during my one serious moment, my “this is my heart on the platter” kind of moment. A person in the front row, their phone went off and they answered it and started texting. So I did what I had to do: I addressed it. I worked it into the scene and it was one of the funniest moments ever.

My phone going off during a show is a true nightmare, but then to actually answer it is unfathomable.

[laughs] Patti LuPone would not be having it.

I imagine you got into drag because it’s creative and fun, and a place that you were welcomed and belonged, but there also seems to be an expectation that drag queens are not just performers and entertainers, but also activists and educators when it comes to the world of drag and, maybe even more broadly, the entire queer community. Did you feel any pressure in that way?

Yeah, totally. It’s wild because when I first started drag I did it because it was fun and I could get drunk while I was making money, which was all I could ask for when I was in my early twenties and I was starting drag but like since it’s gone on and it’s evolved, I do feel a responsibility to be aware of what’s going on in the world, and we do have to be activists as drag queens have always been. Whether it’s during the AIDS crisis or whether it’s during Stonewall, there have always been drag queens who have brought people together and then brought them to action. I do feel that in my career.

In the show, it was more heart-driven. We were like, “This was how I felt.” The character of Brendan, who’s 10 years old, that’s how I felt as a sensitive young person who wasn’t sure how to navigate. And it’s, “what would it have been like had I understood what the fuck drag was at a young age?” How much different and how much better my life would have been as a young person? That was what we were working with.

Then once we started doing the show, years passed and now children and drag queens are a hot-button national news story. We never could have predicted on our bingo card that’s what would happen. But I challenge anybody to come see the show and not walk away seeing the value of the art form of drag on everybody’s life, whether you’re young or you’re older or straight or queer or whatever.

If you had to describe the show in five words?

Fierce and cunty and hilarious and touching and drag. You will laugh, and I hope that you cry. It’s a real-ass musical with real-ass talented people and I would love for everybody to come see it because I’m really proud of it.

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The Breezy Partnership Between Land Rover Defender and The Surf Lodge

The official vehicle of the Montauk hot-spot introduces a limited edition “Beach Break” model

Jason Harper

4 September 2024

Essentially a glammed-up motel located on freshwater Fort Pond, The Surf Lodge is defiantly scruffy—a bohemian bolthole with an allure equally drawn from its breezy vibe and the guests who swan here for the nightlife. On any Wednesday evening in summer, the small gravel parking lot swells with luxury vehicles as off-duty New Yorkers come for the live music. As it’s been for the past 16 seasons, many arrive in modern Range Rovers or vintage Defenders.

Lately many of the Land Rovers are instead the new-generation Defender, an entirely redesigned vehicle that arrived in 2020. This generation is still boxy and utilitarian, but with the comfort and modern amenities that serve its price point. The intersection of audiences is obvious, and last summer the Defender became the official vehicle of The Surf Lodge, with a handful on-property for unlimited use by guests as part of a special package. (The price is an extra $375 a day, regardless of room type.) Guests get their pick of the 90 or 110 models, roof-side surf racks already installed. 

“The energy found at The Surf Lodge is perfectly matched to Defender,” says Sam Allen, US Defender Brand Director. “The combination of Montauk surf culture and live music performances aligns with the passion points of owners.”

Leaning even further into the seaside associations, this month Defender announced a 20-run, limited edition “Beach Break” model, citing Montauk, Malibu and Oahu as inspirations. The 110 model gets a special Tasman Blue exterior paint with striped side graphics, white roof and 20-inch white gloss wheels.  

Clearly the partnership with the Lodge also gives the Defender brand an ability to give an unofficial test drive in the most appealing of destinations, a chance for potential owners to cosplay a certain kind of lifestyle.    

“You’re coming from New York, you don’t necessarily have a car, right?” says Jayma Cardoso, The Surf Lodge’s owner. “So you have to rent a car for the weekend. Instead you can now take the train or a Blade, and borrow the car for the weekend, exploring the town, the beaches and go to the lighthouse. The cars are so on brand. Even if you’re not a surfer, it brings out the lifestyle.” 

The Surf Lodge has been known for its nightlife and live and DJ sets since its inception in 2008, bringing in everyone from Willie Nelson to regular DJs like Bob Moses and Sofi Tukker. Says Cardoso, “We use the Defenders to pick up talent. The fact they’re coming to Montauk and we’re picking them up in a Land Rover instead of a huge SUV with dark windows just announces the journey as something different. This isn’t Madison Square Garden—this is a Bohemian place; small, intimate and with great taste in music.”

All hot brands risk becoming passé—a manager playfully wears a baseball cap emblazoned with the line “Surf Lodge is overrated”—and Cardoso says they work to keep the energy alive. Part of the recent reinvention has been a focus on the cuisine at the restaurant, now rebranded Casa Sereña, with a focus on simple Mediterranean food prepared with finesse. And, as summer wraps, Cardoso’s next focus is at her Aspen offshoot, the Snow Lodge, located inside the St. Regis. Last season, Defender also partnered there, allowing the vehicles to show off their skills in the snow. Cardoso hopes the partnership will continue there, as well.

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Interview: Disco Bambino, the Record Producer and DJ Reviving Italian Disco

This summer, the music curator and online phenomenon released his latest single, “A Te”

David Graver

30 August 2024

To stumble upon the Disco Bambino Instagram account is to lose oneself in a world of dazzling spectacle and sonic wonder. The feed, along with other facets of the Disco Bambino editorial platform, acts as a preservation platform for the Italian pop, Italian disco and Italodisco genres. At its helm is Beppe Savoni, a music producer, curator and DJ who is not only reviving vintage Italian disco but also inbuing classic tracks with a contemporary relevance. Savoni’s other projects under the Disco Bambino moniker include Radio Pornella, a series of mixtapes that highlight the erotic undertones of Italian disco culture in the 1970s and ’80s, as well as the Substack newsletter Italian Disco Stories. This summer, however, Savoni added something unexpected to his repertoire: an original track.

Released on Helix Records, Disco Bambino’s debut single, “A Te,” evokes retro-lounge sensations and beckons listeners to get up and give in to dance. There’s an upbeat energy that seems to marry that past and the present. The album art acts as an exclamation point to the personal nature of the Disco Bambino project—it features an image of Savoni singing at a local talent show in Bari, Italy circa 1979. He was five years old and already studying music theory, piano and dance. To learn more about his path from Instagram to an original record release, we spoke with Savoni and gained equal insight on the influence of Italian disco today.

Where did your love of music begin?

Music is probably my earliest memory. Some of my very first words were names of records that I wanted my parents to buy. My mother always said that I never ever asked for a toy in my entire life. I would always ask her to buy records. In elementary school, I would come from school and dance in front of the mirror and sing and imagine an audience and a theater. I also loved the variety shows in Italy. They were so incredible—so majestic—at that time.

I grew up with older brothers. When they were teenagers, it was like the mid ’70s or late ’70s, at night, before going to sleep, they would listen to records on their record player. I would hang out with them and listen to the music and look at the record covers. When I was very young, I spent a lot of time with my cousins, as well. They were also teenagers. Instead of taking me to the park, they’d take me to local disco clubs. I would spend hours there with them, on the dance floor, surrounded by everybody who was so amused to see this little kid dancing to the sound of disco music. I was enamored by that world. It was such an expression of freedom and happiness. I relate disco music to that feeling, of being yourself in tune with the universe.

When did you begin to DJ?

I started a few years ago. It wasn’t the traditional path, starting at nightclubs. It was more requests from people following Disco Bambino on Instagram. They wanted me to play that music—Italian disco from the late ’70s and early ’80s. They wanted to hear it at their parties and other social events. They started calling me to do small gatherings, then it just got bigger and bigger. What I like to do when I DJ is take people on a very specific journey through Italian culture, Italian music, Italian style.

How was your Disco Bambino social media account born?

It started with a desire to show record covers. To me, they are so interesting. There is so much artistry and so many incredible ideas and so much talent behind record covers in terms of realization, design and photography. I wanted my Instagram to be visual. But, as I continued this process, I started posting videos and I saw that they caught so much more attention. I realized that it wasn’t just about the song itself but the entire universe around the song—from the person’s look to the choreography to the set design. I saw that it not only attracted people but inspired them.

A lot of creatives follow Disco Bambino and they write to me about how incredible those years were for Italian entertainment and culture—and how they provide inspiration for works being made today. This isn’t just nostalgia from people who grew up at this time. Most of my audience is 25 to 35; they’re from a generation that did not live through the Italian disco years but they are incredibly inspired by them.

This isn’t just nostalgia from people who grew up at this time. Most of my audience is 25 to 35; they’re from a generation that did not live through the Italian disco years but they are incredibly inspired by them.

How do you uncover new old songs and videos?

I collect disco music and everything related to and around it—music produced in Italy or by Italians abroad between 1977 and 1982/83. My record collection is very big. It contains records that I bought, really, as early as when I was five years old. It also has records that I’ve searched for. This is my starting point. If I see something that I’m interested in, or hear a song for the first time, I will dig deeper. I will find out who wrote it, or who played an instrument and then I will research that person. It’s this process of learning more. Even after all these years of research and collecting, I still continue to find things that I’ve never heard before.

Are you surprised by the following you’ve amassed and your celebrity audience?

Yes! I’m very surprised. What I do with Disco Bambino is try to recreate something very personal, these memories from my childhood. In this process of reconstruction and sharing, I see all of these incredible artists—artists that I adore, who I’ve seen in concert or heard their DJ sets—follow me. I see that they find this aesthetic, this culture, very intriguing and inspiring, as well.

Recently there was a Saturday Night Live sketch called “La Maison Du Bang!” inspired by Disco Bambino. They credit Disco Bambino as the inspiration. To American culture, Italian disco is something so unique; it’s so different than American disco, which was the matrix of the genre around the world. Now, I look at what I do and it’s probably a new form of archaeology—to keep this musical universe alive and restore it and look toward it as I create something new.

How did your record deal arise?

It came through my day job, where I am a creative director and the vice president of music partnerships at The Promotion Factory. For work, I had connected with Patrick Moxey’s label, which was Ultra Records. We worked on deals for Revlon and Bulova. Patrick saw the development of Disco Bambino. He saw the interest that it was generating around the world.

I was a producer when I was living in Italy, before I moved to New York City. Patrick pushed me to go back into music writing and music production. He put me in writing camps in London with my partner Giuseppe Giammetta. Then we started writing songs. The first single is called “A Te,” which is a celebration of my love for music and also a celebration of my love for my mom, who has always supported this passion of mine—from the earliest moments when I was a little kid living in this small town in southern Italy, fascinated by music and dance. I have a second single coming out in September and by the end of the year there might even be an album.

What do you hope your future in the music industry looks like?

I hope to keep recording songs. I hope to continue making music. The music that I want to make is not a reproduction of stuff that was released in the ’70s and ’80s. I want to make music that is very evocative and brings a sense of nostalgia without copying something previously released. I also hope to release vinyl records soon!