Category Archives: DAM loves this

Paper Fashion Show – A M A Z I N G

It was an Ooh, La, La visual wonderland. The 10th Annual ADCD ( Art Directors Club of Denver) Paper Fashion Show happened last night at the Seawell Grand Ballroom. And, it was a WOW. I had attended a luncheon in the Seawell Ballroom on Wednesday but last night the room shared no resemblance whatsoever. It was transformed into a vision of feminine colors, whimsical fashion illustrations, frills and outrageous dresses made out of P A P E R. The designs were absolutely amazing. I took photos for you …. see for yourself.

IMG_0625IMG_0623IMG_0670IMG_0659IMG_0660IMG_0616IMG_0675IMG_0656IMG_0712IMG_0741IMG_0673IMG_0693IMG_0680IMG_0652IMG_0708IMG_0661IMG_0742IMG_0701IMG_0702

Advertisements
Tagged , , , ,

Tagging on South Pearl = Session Kitchen

Hang on to your boots Denver, there is a new restaurant about to open at 1518 South Pearl Street in the former Izakaya Den.

From the concept director for the Breckenridge|Wynkoop brewery, Lisa Ruskaup spent days and nights conjuring  the perfect globally inspired restaurant. She had one recurring phrase from which she worked, from beer lingo “sessioning beer” meaning to share more than one beer.    With that, Ruskaup ran with her envisioned synthesis of eastern and western energy, art, culture, music, food, and spirits into one meeting place. The brain storm and conceptual reality is called Session Kitchen.

When I went to visit Session Kitchen I was confused. I thought it was a gallery or maybe a restaurant since the word kitchen was part of the name. On arrival the enormous space was bustling with activity. Workmen, architects, carpenters, electricians. They were in the midst of morphing this space, literally. I discovered it is a restaurant in a gallery.

Lisa did her homework.  She knew the synergy she was looking for – create an international space where people would gather after a day well lived, surrounded by the calm of eastern culture and the hip side of western life. Instinctively, art would be the reasoning. She was an art lover with little or no idea where to find the tangible imaginary art she envisioned. On her nightly web search she discovered Pinterest. That’s when the fun began. Going through page after page of artist’s pins was an awakening. Here was a plethora of new, edgy, street artists from all over the world whose work spoke to her concept for Session. Not only did she find the art she had in mind but she made use of one of today’s most addictive and curious social media outlets. So yes, artists out there, start pinning your work.

Scheduled to open to the public October 25, 2013, this is an interesting destination for enjoying art and food. Chef Scott Parker from Table 6 is taking charge of the Session Kitchen, and the art is international and edgy with a street art theme of vivid, bright flat red, black, blue, white, a la tagging.

IMG_4270

Christina Angelina, Fin Dac

IMG_4272

Nigel Penhale

IMG_4280

Ben Eine

IMG_4275

Jen Lewin

IMG_4282

Lisa Ruskaup

The artists came to work.  Ben Eine, an internationally known street tagger, famous for ‘Alphabet Street in London arrived in Denver. Other guests arrived including tattoo inspired artists Fin Dac (London) and Christina Angelina (Venice, CA). The floor to ceiling, two sided curved wall they painted – his side blue, hers red – juxtaposed into stark symbols of street art.  Other artists invited were Mear One, Los Angeles. Check out the south side of the building for his brightly painted fusion of eastern ideas with graffiti-style fine art.  The list is long – Abner Recinos Meija, Guatemala, Chris Sessions, Boulder, Andy Gregg, Michigan, Emi Brady, Denver, Jen Lewin, Boulder, as well as architect Steve Perce from the Bldg. Collective, Boulder, who incorporated the essence of Lisa’s Session Kitchen with elements of movement, music, light, art, sound and repurposed materials that are seamlessly tied together.

Stay tuned. Session Kitchen. It’s going to be fun.

Tagged , , ,

French Style by Bérénice Vila Baudry

Another book on French style. I’m on a fashion kick today. Enjoy. Buy a book!

the CITIZENS of FASHION

“Fashion is not something that exists in dresses only,” Coco Chanel once said. “Fashion is in the sky, in the street. Fashion has to do with ideas, the way we live, what is happening.” And here it is another book to celebrate the country’s best—innovations from universal human rights to the bikini, philosophical and literary luminaries from the Enlightenment to Existentialism, gastronomic delights and Nouvelle Vague cinema. With dynamic photographs juxtaposing concepts from haute couture and scientific advancements to pop stars and popular culture, French Style is as sophisticated as the nation it celebrates.

The Book is now out and available for sale at assouline.com

images via Assouline.com 

View original post

Luxury Book : Chanel Three Book Set, Special Edition

For Chanel lovers out there, a 3-book set of black quilted cover, a la Chanel style, books on the most revered woman of fashion and style. She remains a major influence in fashion today.

the CITIZENS of FASHION

A luxury pack with a luxurious content!

Produced exclusively for Assouline by Chanel, this luxe slipcase is made of genuine black quilted leather and adorned with a metal Chanel logo. One of the most visible personalities of her era, Gabrielle Chanel invented a style that was synonymous with modernity and chic. The slipcase includes three memoirs celebrating her revolutionary style: Chanel Fashion, Chanel Fine Jewelry, and Chanel Perfume, by Francois Baudot And Francoise Aveline. The book is on sale for a luxurious price of 750 $.

View original post

Great Sunday read

“I Noticed My Friends”: Allen Ginsberg’s Photography

Allen Ginsberg, "Myself seen by William Burroughs..." (1953, printed 1984–97). National Gallery of Art, Gift of Gary S. Davis.  Images (All images © 2012 Allen Ginsberg LLC. All rights reserved.)

Allen Ginsberg, “Myself seen by William Burroughs…” (1953, printed 1984–97). (All images National Gallery of Art, Gift of Gary S. Davis; © 2012 Allen Ginsberg LLC. All rights reserved.)

In his poem “America” (1956) Allen Ginsberg addresses the nation as if it were a codependent lover, asking, “Are you going to let your emotional life be run by Time Magazine?” followed immediately by the confession, “I’m obsessed by Time Magazine. I read it every week.”

This combination of confrontation, wit, ferocity, self-examination and intelligence remain exceptional qualities in American poetry, even today. However, since his death in 1997, Allen Ginsberg’s celebrity overshadows his poetry. No wonder. He was arguably the most public poet in all of American history. He was the award-winning counter-culturist, a pioneering leader on gay rights, an outspoken opponent of the police state and its techniques of lies, repression and censorship, the godfather of spoken word and street poetics, a teacher and supporter of up-and-coming poets and artists as well as a spokesman for neglected peers. He was a conscientious objector, the practicing Tibetan Buddhist who never quite left behind the pragmatic chutzpah of his native New Jersey, or his Judaism, emerging in the 1960s as an often interviewed advocate for far-left progressivism in an age of American reactionary politics.

These days Ginsberg’s poetry isn’t completely neglected. But its content and range are subsumed by the legacy of these famous interests, many of them propagated in documentaries over the last few decades and even in film adaptations of his life, like the recent Howl (2010) and On the Road(2012).

At first glance, Beat Memories: The Photographs of Allen Ginsberg at the Grey Gallery seems like yet another nostalgic trip that will further eclipse the poetry. In actuality, this exhibition of 94 black-and-white photographs, taken by Ginsberg in the periods 1951–1963 and 1984–1996 offers a chance to reassess Ginsberg as an introspective poet who cultivated patient and caring witness even as he lived forcefully and at large. Overall, the photographs reflect a documentarian’s attention to an epoch’s unpredictable arrival and then, more subtly, an equal and more complicated attention to that same generation’s fadeout.

Because I began viewing the show at the wrong end of its neatly curated timeline, the first picture I saw was a harrowing portrait of Ginsberg’s aunt near death in late 1980s, followed by a photograph of his lover Peter Orlovsky, seated alongside his family near a social welfare office on Long Island. Ginsberg’s portraits of Orlovsky are highlights of the show as they correspond to the changes of period and lifestyle, permutations reflected in Orlovsky’s mysterious shape-shifting appearances. He emerges as muse and marks the site at which Ginsberg’s private life bleeds into the public.

Ginsberg’s almost paternal pride in the poet Gregory Corso is a subject of a number of photographs. Ginsberg discovered Corso shortly after the latter had served a three-year stint in Clinton Prison for theft. A serene photograph shows a seated, confident Gregory Corso — his overcoat draped over his shoulders, his hand holding a curtain rod like a weapon — underneath a sunlit window frame in a Parisian garret. The image provides a startling contrast to a close-up of a tired and rotund Corso which Ginsberg snapped in the mid 1990s at Kettle of Fish bar. Similarly, two separate photographs of Jack Kerouac crystalize the peripatetic drive of these young poets and writers long before they had been loaded down with the media label “Beats,” a label that curator Sarah Greenough expediently if unfortunately perpetuates in the exhibition’s title.

The vitality of their youth is hard to miss. Even the young Ginsberg living through it sensed its inimitability. A rooftop photo of clean-shaven bespectacled Ginsberg taken by William Burroughs shows the poet against a backdrop of television antennas, chimneys, and skyscrapers. A photo of Jack Kerouac shows him mugging an “Om” as he strolls by Tompkins Square Park in 1953, and, in another, from that same year, Kerouac is in profile, silhouetted against the granular wood boards of the Staten Island Ferry pier, like an extra from Kazan’s On the Waterfront.

Allen Ginsberg, "Jack Kerouac wandering along East 7th Street after visiting Burroughs at our pad, passing statue of Congressman Samuel "Sunset" Cox, “The Letter-Carrier's Friend” in Tompkins Square toward corner of Avenue A, Lower East Side; he’s making a Dostoyevsky mad-face or Russian basso be-bop Om, first walking around the neighborhood, then involved with The Subterraneans, pencils & notebook in wool shirt-pockets, Fall 1953, Manhattan." (1953), Gelatin silver print, printed 1984–97 11 1/2 x 17 3/4 in. (29.2 x 45.1 cm), National Gallery of Art, Gift of Gary S. Davis © 2012 Allen Ginsberg LLC. All rights reserved.

Allen Ginsberg, “Jack Kerouac wandering along East 7th Street after visiting Burroughs at our pad, passing statue of Congressman Samuel ‘Sunset’ Cox, ‘The Letter-Carrier’s Friend’ in Tompkins Square toward corner of Avenue A, Lower East Side; he’s making a Dostoyevsky mad-face or Russian basso be-bop Om, first walking around the neighborhood, then involved with The Subterraneans, pencils & notebook in wool shirt-pockets, Fall 1953, Manhattan.” (1953). Gelatin silver print, printed 1984–97, 11 1/2 x 17 3/4 in. (29.2 x 45.1 cm).

In hindsight, those two youthful photos become a prologue for Ginsberg’s wrenching 1964 photograph of a candid, disheveled Kerouac slumped in an easy chair surrounded by luggage in the poet’s East 7th Street apartment, staring away from the camera as if in self-disgust. The now world-famous Kerouac looks, in the captions scrawled by Ginsberg, like “WC Fields…red-faced corpulent shudder with mortal horror.” Here, the photo seems to say, are the strange fruits of fame.

Although the exhibition is crowded by some already iconic images, like novelist Paul Bowles seated barefoot on the ground in Tangier looking up from a bowl and spoon, the show’s strongest appeal is the incidental and often euphoric moments that Ginsberg preserves: Orlovsky sky-high as he cannonballs upside down into a pond in Cherry Hill; Poet Gary Snyder, crew cut and priestly robed, flashing an ironic yet innocent gaze from a lush Kyoto garden; Keith Haring, like a schoolyard showman, drawing on a sidewalk in Lawrence, Kansas; Lou Reed backstage at the Public Theater unwittingly gazing in the precisely opposite direction of Samuel Beckett’s visage on a nearby playbill.

A few photographs transcend their well-known subjects and suggest that had Ginsberg decided to give up writing poetry, he might well have made a run at being a full-time, master portraitist. And like the cameraman himself, the pictures traverse the globe: Japan, India, Morocco, Paris, Zurich, New York, Yosemite, San Francisco. A self-portrait reflected through multiple angles and mirrors taken at an optometrist’s office in the 1980s exhibits an almost indescribable facetiousness, much like Ginsberg’s long-distance shot of a skinny, isolated and atypically vulnerable William Burroughs, his boney head bowed under the spotlights as he prepares to be filmed for an interview. Burroughs is perhaps the most overexposed subject of the photographs, but there are fortunately many surprises.

Allen Ginsberg, "Francesco Clemente looking over hand-script album with new poem I’d written out for his Blake-inspired watercolor illuminations, we’d done two books before; entrance corner of his loft overlooking Great Jones Street Manhattan, October 1984. He liked this picture." (1984) Gelatin silver print, printed 1984–97 15 7/8 x 10 5/8 in. (40.4 x 27 cm)

Allen Ginsberg, “Francesco Clemente looking over hand-script album with new poem I’d written out for his Blake-inspired watercolor illuminations, we’d done two books before; entrance corner of his loft overlooking Great Jones Street Manhattan, October 1984. He liked this picture.” (1984). Gelatin silver print, printed 1984–97, 15 7/8 x 10 5/8 in. (40.4 x 27 cm).

A marvelous picture of the painter Francesco Clemente shows him seated in front of an oversized book his head half in shadow as sunlight plays upon the bare wall behind him. Clemente looks like a Benedictine monk transposed into a still from a Godard film. A photograph of the poet’s elderly grandmother, Rebecca Ginsberg, is aimed upward from the dining table, its stylized, enclosed composition stripping any sentimentality from the homey setting. The woman’s white blouse, white curtain and white tablecloth intensify the darker surfaces, evoking a paradoxical absence within her aged presence. Or is it the absence of Ginsberg’s long-mourned mother that haunts the photo?

Allen Ginsberg, "Rebecca Ginsberg, Buba, wife of Pincus, laundry-man later tobacco-store owner, my paternal grandmother (b. Russia near Kaminetz-Podolska May 1869–d. July 1962) visiting her elder son Louis’ house, here 84 years old at table for Seder preparations. She’d attended Adult Education English classes in Newark 14 years earlier, written patriotic essay declaring “God Blast America!” Younger son Uncle Abe & daughters Aunt Rose, Clara & H.S. teacher Hannah were her children. Dining room 428 East 34th Street, Paterson New Jersey April 1953." (1953) Gelatin silver print, printed 1984–97 6 1/2 x 9 1/2 in. (16.5 x 24.2 cm)

Allen Ginsberg, “Rebecca Ginsberg, Buba, wife of Pincus, laundry-man later tobacco-store owner, my paternal grandmother (b. Russia near Kaminetz-Podolska May 1869–d. July 1962) visiting her elder son Louis’ house, here 84 years old at table for Seder preparations. She’d attended Adult Education English classes in Newark 14 years earlier, written patriotic essay declaring “God Blast America!” Younger son Uncle Abe & daughters Aunt Rose, Clara & H.S. teacher Hannah were her children. Dining room 428 East 34th Street, Paterson New Jersey April 1953.” (1953). Gelatin silver print, printed 1984–97, 6 1/2 x 9 1/2 in. (16.5 x 24.2 cm)

At their best these pictures show how photography is a celebration within a rite of mourning. And if photography prolongs a lived moment that vanishes as soon as it arrives, Ginsberg sensed how better suited photography than writing can be to that impulse. The self-portraits punctuate the exhibition without competing with the portraits, so that Ginsberg appears, and ages, at steady intervals, like an affable but unobtrusive host at a party floating in and out of rooms. These self-portraits, which tend toward comedy and eroticism, in the later pictures are marked by Ginsberg’s almost desperate need to show off his body as an avatar of impermanence. There are also flashes of playful narcissism: who else but Ginsberg would attire himself in an expensive Irish tweed suit and florid Oleg Cassini tie while making note that he got the latter from a goodwill shop?

In contrast to his famously hyperbolic statements about his generation, these photographs seem like a secret visual diary filled with more complex realizations about his life and times, a quality underscored by the meticulous and poetic captions Ginsberg supplies beneath the prints. For instance, the late middle-aged painter Larry Rivers, dressed in a sleeveless T-shirt in a large Southampton studio after a weightlifting session, is captured looking more perplexed than self-possessed. A homeless, bearded and straggly Harry Smith, the ethnomusicologist, recovering from having nearly been run over by a car, sits with head bowed at Ginsberg’s table, withdrawing from the camera’s attention. Smith’s wild gray hair and drawn, severe facial features lend him a grandeur at odds with his victimhood. I sense Ginsberg took the photo because the moment was beyond words.

Allen Ginsberg, "I sat for decades at morning breakfast tea looking out my kitchen window, one day recognized my own world the familiar background, a giant wet brick-walled undersea Atlantis garden, waving ailanthus (“stinkweed”) “Trees of Heaven,” with chimney pots along Avenue A topped by Stuyvesant Town apartments’ upper floors two blocks distant on 14th Street, I focus’d on the raindrops along the clothesline. “Things are symbols of themselves,” said Chögyam Trungpa Rinpoche. New York City August 18, 1984," (1984) Gelatin silver print, printed 1984–97 16 1/2 x 11 in. (42 x 28 cm)

Allen Ginsberg, “I sat for decades at morning breakfast tea looking out my kitchen window, one day recognized my own world the familiar background, a giant wet brick-walled undersea Atlantis garden, waving ailanthus (“stinkweed”) “Trees of Heaven,” with chimney pots along Avenue A topped by Stuyvesant Town apartments’ upper floors two blocks distant on 14th Street, I focus’d on the raindrops along the clothesline. “Things are symbols of themselves,” said Chögyam Trungpa Rinpoche. New York City August 18, 1984,” (1984), Gelatin silver print, printed 1984–97, 16 1/2 x 11 in. (42 x 28 cm)

Perhaps the most evocative portraits in the show are those without Ginsberg or anyone else in them, particularly a series capturing the Lower East Side streetscape looking north from Ginsberg’s longest residence at 437 East 12th Street. In one such vista, a sunflower competes with the view while in another a layer of snow encrusts the tenements and fire escapes. In yet another, a rainstorm has passed and the poet’s caption describes the backyards as a “walled undersea Atlantis” with “waving ailanthus, ‘stinkweed’.” That photo’s focal point might easily be missed where it not for Ginsberg’s note: the raindrops on a clothesline. Ginsberg’s caption quotes his Buddhist mentor Chögyam Trungpa Rinpoche: “Things are symbols of themselves.” As I trained my eyes on the clothesline, I felt the presence of Ginsberg more strongly than at any point during the exhibition. It was the invisible poet, at home, pointing out the rope strung between buildings, spotted by a row of raindrops about to fall.

Beat Memories: The Photographs of Allen Ginsberg continues at Grey Art Gallery through April 6.

Tagged as: Allen GinsbergBeat GenerationGrey Art Galleryphotography

Denver Go to Memphis

MEMPHIS, THE MUSICAL, RUNS THROUGH OCTOBER 21, 2012. 

I waited three years to see Memphis, The Musical. I dreamed of seeing it on Broadway but before I could travel to NYC from Florida, I moved back to Denver.  Then I dreamed of being in Memphis, Tennessee, for the namesake’s opening night.  I vowed to myself. I wouldn’t miss it if it came to Denver. Last week was my opportunity and I didn’t miss it.  I was like the young boy I was shoulder to shoulder with at the pre-show merchandise counter.  We were two star-struck teens, we shopped, fidgeted, handled all novelty items, magnets, CD’s, key chains and lip-synched the songs. I quickly made my decision, a pink, girl-cut T-shirt with the orange guitar running up the side with the words: Memphis Lives in Me.

I grew up west of Memphis in Little Rock, Arkansas. My favorite radio station was KOKE,  with the tag line, The Black Spot on Your Radio Dial. Those late night shows were the beginning of my love affair with blues, hip-shakin’ rock’n roll, jive, jump blues from the likes of Sam Cooke, Etta James, Big Mamma Thornton, Little Richard, Gatemouth Brown, Muddy Waters, BB King and Ben E. King, Bobby Blue Bland and one of my all time favs Clarence ‘Frogman’ Henry.  The impact on my life from their music and my Southern heritage is a badge I’m proud to wear.

Memphis, The Musical is about that era in our musical history when white adolescents discovered and loved black music. If  the 45 rpm “A White Sports Coat with a Pink Carnation,” by Marty Robbins crossed over from country to pop, Little Richard’s  ‘Tutti Frutti’ the same year, 1957, hit the airwaves with another explosion. The hit parade songs from Perry and Frank didn’t resonate with white suburban kids anymore, they had heard rock ‘n roll.  One night, as the musical story goes, black & whites met on common ground at a colored juke joint in Memphis, Tennessee. Huey Calhoun, the white boy who became Memphis’s first cross-over DJ, was lured by the toe-tapping, soulful music seeping under the door. It changed Huey’s life, Memphis town, and rock ‘n roll forever.

I will not go on & on about how wonderful this show is and what it meant to me. I don’t have time to write my childhood story to include my Memphis Aunt Jamie Sue or Aunt Jack (who told Elvis’s father to kiss her ass when he left her waiting in the Graceland foyer for over an hour) on this little blog.  But here’re the facts, Memphis, The Musical, won four Tony Awards in 2010 for Best Musical, Best Original Score (David Bryan from Bon Jovi, and Joe DePietro), and Best Orchestrations (David Bryan and Daryl Waters). If you have a chance to see MTM you will be singing and longing, depending on where you’re from, for Memphis the Musical or hankering for the hometown flavors of Memphis, Blues & BBQ.

The show is beautifully orchestrated and choreographed with fabulous dancers, singers, brilliant stage & set design and music that fills the heart. Everyone leaves the show with the song title embedded in their soul:  Memphis Lives in Me.

http://www.youtube.com/watch?v=QFq5O2kabQo  click here for Little Richard singing “Tutti Frutti.”

Get your tickets at www.dcpa.org

Tagged , , , ,

Strut Your Stuff

 

And, it’s FREE.

For the first time ever, Cherry Creek North is kicking off Fashion Week in a big way! On the evening of September 6th, style lovers will whet their appetites of the latest fall fashions at in-store events throughout Cherry Creek North, followed by a runway fashion show on Fillmore Plaza featuring Cherry Creek North boutiques.

Cherry Creek North stores are pulling out all the stops in preparation for this big night in fashion by planning fabulous in-store events from 6 – 8pm. Guests can expect everything from trunk shows to mini fashion shows to complimentary services, giveaways, and more. Nearly 40 stores are participating and event details can be found at CherryCreekNorth.com.

Immediately following the in-store events, there will be a spectacular runway fashion show at 9pm on Fillmore Plaza. The show will feature 11 boutiques, which will give the audience a taste of the diverse collection of fashion offerings available in Cherry Creek North. The boutiques featured in this year’s show will be: Alicia the Boutique, Eccentricity, Felice Bridal, Garbarini, Lawrence Covell, Mariel, SOL… Store of Lingerie, and Marks Lloyd Furs. Jewelry is being provided by Oster Jewelers, and there will also be a surprise children’s component provided by Little Me’s and Little Feet. Each of these stores will walk the 88 foot runway showcasing their fall and winter looks that can be found in stores this September!

This event benefits Goodwill Industries of Denver’s programs that outfit individuals for success. As you’re walking through Cherry Creek North between now and September 6th, you may notice some life-size blue, “Success Silhouettes” that represent the tremendous stories of six individuals that have been greatly impacted by the phenomenal work that Goodwill has done in our community. We are proud to partner with them on this event and help drive awareness of their programs.

Our official partners are: 303 Magazine, FirstBank, Little Black Dress Vodka, Little Black Dress Wine, Great Divide, Piatti, and Cuppy Cakes of Cherry Creek. Guest should be sure to strut their stuff on the 303 Magazine red carpet for a photo opportunity on Fillmore Plaza from 6pm – 9pm.

The entire event is free and open to anyone; however there will be a limited number of reserved VIP tickets for sale for the fashion show. VIP tickets include (depending on level purchased): Reserved runway seat, access to the VIP party before the show (complimentary cocktails and hors d’oeuvres), free parking, and a goodie bag. Additional details for Cherry Creek North’s celebration of fashion are being finalized and will be announced as September 6th approaches!

Tagged , ,

Klimt – posting from Flavorwire

Gustave Klimt has made a resurgence in the media as of late – the world is celebrating his 150th birthday.  I like this article about him…’smelled like an animal!’ Oooo. If you didn’t see this on www.flavorwire.com, I’m helping you expand your horizons. A few little tidbits about him I didn’t know and maybe you didn’t know either.

Written by by .

A Survey of Klimt’s Sexiest Art for His 150th Birthday [NSFW]

“Klimt was exceptionally animal-like. His body exuded a peculiar odor. As a woman, one was really afraid of him.” These are the words of Hilde Roth, the beautiful Lady With Hat and Feather Boa, an eager subject from the storied artist’s muse collective, the models hanging about his studio in packs. Klimt was frank in his eroticism. He painted his models nude first, and then painted on clothes and surrounded them with the atmospheric blood of gilded detail, as discovered after his death when The Bride was left unfinished and exposed. Similarly, Klimt himself was known for wearing a long robe with no undergarments. Mm-hmm.

Alright, we’re getting a bit saucy there, but it’s a special occasion. Tomorrow we celebrate what would have been Klimt’s 150th birthday. Here are 15 of his paintings and naughty sketches, from the mythical nymphs frolicking out of strategically flowing, draped clothing to tangles of sketched, nude lovers to the pretty maidens threatened by a snarling animal (perhaps, a nod at Klimt’s syphilis-related anxieties). Flip through a few of the sexy beast’s career highlights in our slideshow.

Image

Gustave Klimt. The Bride, 1917-1918.

OLBRISH Handbags from Germany

Probably not good timing with the Ralph Lauren hubbub brewing, but I ran into these purses at BOUQUETS in Lodo – odd store to find them in – yet to my surprise my first visual reaction was ‘art’. They are beautifully made of fine grain leather (BMW seats) and steel frames. It was the shape, style and design that caught my eye. Bet they’ll last a hundred years.

Image

Tagged , , ,
Advertisements
Musing

A publication of Parnassus Books

Navy Blue Heaven

A Little Slice Of Cowboys Heaven

The Cool Muse / La Musa Molona

"The Cool Muse: Proudly tormenting friends and family with paintings of doubtful quality since MMII" "

Jazz in a Minute

Discover trending and amazing Funky Jazzy artists. Definitely not another mainstream music blog.

Splatter Craze

Get crazy about being creative!

Dear Denver

I've been thinking so much about you...

Peter ILLIG's Blog

Art-making in Denver

A Stairway to Fashion

fashion news editorials travel beauty

this is... The Neighborhood

the Story within the Story

Artwork of Jenna Koenning

Inspired by the natural sciences, I use landscape painting as a means to express issues of personal importance.

Nothing Gilded, Nothing Gained-Author Adrienne Morris

Books, Art and the Writing Life at Middlemay Farm

artthatmeansbusiness

Smile! You’re at the best WordPress.com site ever

you can observe a lot just by watching

thoughts and insights into the worlds of television and film

Stephanie Raffelock

A good story can transform the way that you see the world.

%d bloggers like this: