INSIGHT Magazine | Issue #25

8/3/2019 INSIGHT Magazine | Issue #25

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VOLUME IV | ISSU

WWW.ONEFOKUS.ORG/INS


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F.O.K.U.S. uses the arts to unite,

inspire and empower diverse communities.

This is accomplished through the production of events,workshops and the publication of INSIGHT, our quarterly arts

magazine. F.O.K.U.S. is an organization led by young adults that

highlights the importance of and need for the arts and creativity in life.

We believe the arts enable people to rise above barriers

in society by creating new ways of thinking,

communicating, and interacting.


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PRESIDENT/PUBLISHER/EDITOR-IN-CHIEF / ATIBA T. EDWARDSAtiba is a perpetual visionary that likes to do art in the dark since it is easier to see the true light.

EDITOR/ALLISON MARITZA LASKYAllison believes that children are the best artiststhey are individual universes o infnite creativity.

LAYOUT & DESIGN / JEFF ALBERTJe is a creative type whose avorite questions are Why? and What if...? In that order.

CONTRIBUTORS / ARNTHOR VARSSON / PETER CICCARIELLO / BRIAN DUPONT /

ATIBA T. EDWARDS / SIMONE GRANT / AMINA HASSEN / SPRING HOFELDT /ALLISON MARITZA LASKY / BUD RAMSAY / STEVE RILEY / RoByn / MIKE ROSEN /

SPAZECRAFT / JARED WILLIAMS

www.oneokus.org/insight

Questions and comments can be directed to [email protected] inquiries can be sent to [email protected]

All advertising inquiries can be directed to [email protected]

INSIGHT is published by F.O.K.U.S. Inc.All rights reserved on entire contents. Reproduction in whole or in part without written permission is prohibited. Opinionsexpressed in articles are those of the author and do not necessarily reect those of F.O.K.U.S. or INSIGHT.

CONENSVolume IV | Issue 102 Letter From the editor03 Street StyLe04 GiFt PLAte

06 iN the JArS oF oBSerVAtioN12 iCeLANd20 orGANiZed mAZe24 FAmiLy BUSiNeSS30 iNViSiBLe iNStrUCtioNS38 the odd CoUPLe42 SyZyGy56 miLLiNery reSUSCitAtioN64 reSidUAL eNerGy70 WiNG Poem

71 tUNA FiSh72 SheetS75 FirSt CLiCk76 iNFiNite PLAyLiSt

Street StyLe Art ArtiCLeS / Q&A PhotoGrAPy Poetry F.o.k.U.S. CrU iNFiNite PLAyLiSt


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LEER FROM HE EDIORVolume IV | Issue 1Why do I do this? O the primary things I do, each is rewarding and

stressing in dierent ways. Several people have asked how and why I do

all the things that I do. Which is usually ollowed by some derivative o

you dont eel like your cup is ull? I do, but each and everything I do is

connected and helps me be a better me. F.O.K.U.S. has introduced me to

a wide brush o olks and vice-versa. Some o our integral members came

via F.O.K.U.S. event connections.

INSIGHT was started several years ago when I was talking with my

co-ounder o F.O.K.U.S. about the need to really create an arts science

air. Yes, you heard rightan arts science aira place where people,

rom novice to expert, can test out their creativity. The rst issue we

ever created was like the volcano experiment at your elementary school

science air. It was a sae, tried and true ormat and refected a group okids who were still mashing things together to gure things outthat

worked. Fast orward some 20 or 30 issues later and here we are with the

latest volume or your enjoyment. Our content and

contributors have expanded and I would encourage

you to visit the F.O.K.U.S. website to see the

development throughout the issues.

I realize that my cup, at times, runs over but I have a

saucer to catch it.


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SREE SyLE:I think that the classic glamor o a woman shouldalways be refected in her wardrobe and thats

something that would never die.


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BRIaN DUpON

M rctice is stud o how the visul sects o inormtion cn be

conveedor distortedwithin the rmework o bstrct inting.M recent work hs begun to ocus on the visul ossibilities inherentin lnguge; I tke the written (or rinted) word s source mteril,stressing nd distorting the text through rocess o inting, ersure,nd reinting. Working in oil on metl (usull luminum) I enggewith the techniques o high rt nd common signge in n ttemt tooreground the intings mteril relit. M gol is tht the intedsurce nd lnguge will be lced on equl ooting so tht the workswill not merel be red, which I eel ends n enggement with it tooquickl. o this end the text is distorted, reversed, nd reeted with oddkerning nd shits in scle so tht tht the ct o reding is trnsormedinto looking.

M recent work hs begun to exeriment with inting s threedimensionl object. B rojecting the inting into the sce o theviewer, but keeing the inted lnes t, I orce the viewer to ressesstheir reltion to the object s crrier o inormtion; ll o the sidescnnot be viewed simultneousl, nd the comlete inting cn onl becomrehended bstrctl.

Git Plate is a study in combining the use o text and the marks existing ona ound support to determine the composition o the painting. The text wasapplied and modied (stenciled backwards, vowels removed) to discouragemerely reading the work while simultaneously dening the geometricdivision o the surace.

(right)Git PlateOil and paintstick on steel9-5/8" x 14"2010

Ban dupn was bn n taca, WA an was as n mws. h an Unvs mnnsa an kansas C A b anng Cnll Unvs su panng. h lvs an ws nBln, Nw y.

GIF pLaE


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SpRING HOFELD

Ech inting is trnsltion o the w eole communicte, includingbut not limited to interctions o m own. I utilie nimte or innimteobjects which I nd to hve sunk nture. More oten thn not I lnd work with these objects until I nd the right methoricl setting tolce them in. Cturing nd illustrting ever chrcter role in the ieceis imortnt, such s the disosition in sh, the nture o glss jrscurves, nd the overll sentiment tht mrrige o two such elementscretes. rnsltion o these ersonlities is ke s it hels to mke light

o situtions we encounter or m tke too seriousl.

TOUGH LOvE (right)

In some amilies, no matter how young or old we are, our parents arecontinually teaching us a lesson. How heavily do they need to stress theirpoint beore it makes an impact?

Acrylic on board11" x 17"

IN HE JaRS OF OBSERVaION


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PEOPLE WATCHING (above)

Have you ever observed the people who are watching other people? I amamused by their continuous glances o inspection. Its best when their chinhas dropped open slightly and theyve lost all sense o what they are doing.

Acrylic & colored pencil on board12" x 11-3/4"

NOT A CONDImENT (right)

Make no mistake, people arent always as plain as they appear to be.



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OUT OF SORTS (above)When out o our comort zone, and without realizing it, we sometimes calmour nerves by pretending to be someone we are not.

Acrylic & colored pencil on board7.5" X 10.5"

TIL I TURN BLUE (right)

Stubborn as a mule, but no larger than a gumball. As a child, holding yourbreath to make a point always seems so ridiculous. Its a silly move tomake, but awully entertaining to watch.


Spng hl s pan bas n Bln, Nw y. S an a BFA n Ccal A, w anpass n illusan a Cnal mssu Sa Unvs n 2001. Spng as swn w n gallsacss cun, alng w aclang xbns an vns ugu Bln an upsa Nw y.


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aRNHOR VaRSSON

Returning to Icelnd ter 14 er long journe brod, I relied howdeel m sirit is connected with the Icelndic lndsce nd nture, tie tht hs never been broken. Locted so r north, Icelnd is renowned

or its mgnicent light, the midnight sun nd the drk winters withthe mgicl Northern Lights. With its ctive geolog, roviding erutingvolcnoes nd stem hot srings, nd constntl chnging wetherconditions, Icelnd rovides n ming showcse o the elements innture. Cturing ntures elementl orces best denes the currentchrcter nd direction in m hotogrhic rt.

STEAmY mOUNTAINS (right)

Some days the humidity levels in the air emphasize the geothermal activityby accentuating the steam billowing rom the countless hot springs inIceland. This late evening shot shows Grensdalur, a geothermal eld insouthern Iceland which is at a walking distance rom my home.

STEAm AND ICE (pp. 1415)

Hot steam rom the ground encountering reezing temperatures at thesurace can generate dramatic ice sculptures.

ICELaND


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LAND OF LIGHT (above)Hal-covered in snow, I oten nd mountains showing their best character.Drama in the sky completes the play on this winter scene.

THE ExPLORER (right)

Although I rarely intend to include my best riend and exploration buddyin a landscape photo, he incidentally can make a picture much more

interesting.

mY BIGGEST KODAK mOmENT (pp. 1819)

As I was getting ready to end a photo session at the site o the volcaniceruption, I noticed the Northern Lights appear in the sky above or afeeting moment, the biggest Kodak moment o my lieso ar.

T pgap An vassn cunl lvs n a sall wn call hvag n sun iclan. Aslcn s pgapc w can b sn n www.c.c/ps/c-cl.


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BUD RaMSay

REvOLUTIONARY FEvER (right)

Revolutionary Fever speaks on the need to constantly create positivechange both individually and collectively. It recognizes that sole truth inlie and that change is constant. In the midst o change one should beencouraged by the hope and possibility o new options, new energy, andnew outlooks, all the while embracing the slight and consistent alterationslie will always bring our way. Revolutionary Fever reminds us that theworld is still moving and I have the power to positively move with it!

LOUD PASSION (pg. 22)Loud Passion speaks on the need to remove any hinderances that wouldstife ones voice. It recognizes gits and talents which we have all beencreated with. A dream may in act plant the seed but it is that passion thatresides in the inner core o our being that allows us to move orward inwatering that seed. It embraces the drive o lie, the power o motivationand grand opening o ones true maniestation. Loud Passion reminds usall that thinking outside the box breaks barriers and builds bridges!

ORGaNIzED MazE


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CONCRETE COLOR JUNGLE (above)

Concrete Color Jungle is truly inspired by the rhythm o lie, the motion insounds, and the melting pot in the city in which I reside. It is a non-verbalillustration o the way everything and everyone around us can bring ushope and joy and at times even peace. It speaks to the hidden innocenceo the every day hustle to survive and keep ones head and inspirationabove ground. Concrete Color Jungle is a direct refection o the look andeel o lie in the city. An abstract yet ullling eeling!

Bu rasa s a sng/sngw an un Fyre Zn, an ganzan sabls w w nnc an a-s u w a passn usc an as. hs panngs w nsp b s s lps ungss an as n Fyre Zn. h ss n Bln, Nw y. Fn s w awww.zn.c al [email protected].


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an Interview baLLISON MaRIza

LaSKyOn sunn d in august lstsummer, m co-resident, atib,nd I trveled to the Bhminislnd o Nssu, to celebrte thenutils o our F.O.K.U.S. milmember, Jred Willims nd thenwie-to-be, Lkethi White. Even

there beneth cloudless blue sk,thousnds o miles rom home,Jreds nturl ee or rtisticre ws hot nd resentromsnshots o his brothers wlkingon cobblestone streets to the slton the rims o mrgrits t thelocl br. I remember the rsttime I met Jred t Te Universit

o Michignwlking with cmer round his shoulder in theded o winterno bg, just thecmer. Jred will even tell ouhis riml love hs orever beenwith cretivithow to sncti moment b cturing its seednd truth. Now, months lter,

mrried mn, I cught u withJred to see how lie hs exresseditsel in new ws behind his lens.

ALLISON mARITzA LASKY: Sowith all the changes around beinga married man, were you able toreally bring in 2011?

JARED WILLIAmS: Everyone loves

house parties, so instead o payinga ton o money to hang out at someclub, a ew riends and I threw a

house party in Harlem. On themorning o New Years Eve I wasdreading the long ride homeIm aBrooklyn kid.

AmL: Inquiring minds want toknowwhats the latest addition onyour arts menu?

JW: POLAROIDS! I recentlyinherited my parents old PolaroidSUN660 and havent put it down.Having given up my pursuits inphotography a ew years ago, Idid not realize what I was gettingmysel into.

AmL: What are you getting intowith the camera?

JW: Ater a day or so o researchI ound The Impossible Project,a company that has continuedto produce lm or instantlm cameras ater Polaroiddiscontinued its production o theirinstant lm. Coincidentally, a ewyears ago, I attended a New Years

Eve lot party in the same buildingthat The Impossible Project iscurrently located in. What a greatspace! Great memories o Polaroidcameras and all the un that wasassociated with themthe spacebrought all those eelings back.

AmL: So this new relationship, how

FaMILy BUSINESS


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does it dier rom the rst timearound with photography?

JW: Polaroids are like the Delorean

o cameras, and I want to go backto the uture! [I am working with]the people at The ImpossibleProject, who are innovative andenergetic about the basics. Istopped by their oce on a lunchbreak and the aternoon lent itselto discussing the process o usingthe lm and techniques to create

dierent eects. Developing thelm in cold, room temp, and warmenvironments all result in dierentlooksand contrary to popularbelie YOU ARE NOT SUPPOSEDTO SHAKE THEM!

AmL: Oops! No wonder all myphotos look like the Northern Lights.

So, with new perspectives on howto use your 660, are you gettinginto a groove?

JW: Hell yes! Its a lot o un tomess around withand or once,I dont mind carrying a tank o acamera around with me!

AmL: So tell me about these shotsyou shared with our INSIGHTreaders.

JW: On New Years Eve, I strappedon the 660 and just let my eyes dothe talking. I hope you like whattheyre saying.

AmL: I admire the varying distancesrom the lens o each photoandthe sepia is a tting nal touchto refect an old school pieceo technology. So, any images


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you are particularly interested incapturing now that youre back intophotography?

JW: Everything and anythingespecially i it is in Brooklyn!

Although, I might have to ventureout o the Kings County to ndsomething truly amazing. Perhapsa trip to somewhere warmstartplanning now!

AmL: Ha! More sun, sand andsnapshotsI could get into the

idea. Until then, though, someclosing questions or you. I youhad one thing to teach the childrenone lesson about art, what wouldyou preach?

JW: Be earlesspush boundaries,do not compromise, explore everyaspect o your subject, and dont

be a slave to rules. Own the spaceoutside o the box, transorm it.

AmL: What is your art?

JW: I enjoy any medium o drawing,ood, and photographynotnecessarily in that order.

AmL: Will you always beF.O.K.U.S.d?

JW: You know it! Since myinception into the amily in 04, I amand always will be ully F.O.K.U.S.dman!

AmL: Finally, nish the line Art is

JW: Art is my LIFE!

Allsn s c-psn F.o.k.U.S. NyC, asssanc a Bln pscl, an s wngwas ass n publc al.


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SpazECRaF ONE OF SOHNUp INK

M rtwork is bsed on the remise tht we ll ollow these invisibleinstructions tht sometimes nd oten, we either do not understndor we look into our work to discover greter mening rom withinourselves nd rom wht comes through us. Whether it be socil, oliticl,intellectul, imgintion, nts, communit, or otherwise, we urbn rt

cretors chnnel our sirit (cll it wht ou like) through our technique,visions, nd exeriences to roduce our culturl outut.

I oten crete smbols tht re reminiscent o Mn glhs, Jneseknji, or togrh rom other cultures, nd in ct, I tke minsirtion rom the vried togrhic ictogrhs tht I stud ndintuitivel crete m own hbrid smbolog tht gets urther interretedb the viewer nd trnslted b me uon urther stud o the mrksthemselves. I tke on the role o culturl nthroologist & togrhic

morhologist in m nltion o m imrovised smbols.

SYmBOLOS 1 (right)

Process-oriented, this piece was the most recent in my Symbolos series,and it encompasses both an underlying abstract quality and a reeing romfow in the intuitive automatic writing space. Oten these marks/symbolsdo not hold meaning until they are revisited by mysel and by other viewers.Truly guided by invisible instructions.

INVISIBLE INSRUCIONS


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HOPE_WALL_INSTALLATION (let)

The main symbol has been created and repeatedly drawn by me literallyhundreds o times in a variety o context. Stickers, paintings, illustrations,sterling silver jewelry, and automatic writings. Ive assigned this symbol themeaning o hope as its ligatures seem to me to suggest the act o giving,a genufected position o sorts, and a humble yet prideul symbol.The background or this symbol is created rom a simple arc or rainbowshape, and is part o my Totem Symmetry process and urban art creationstencil-making workshops.

EE/ES/CE (pp. 3435)

A study in color elds and ebb and fow. Ive never worked on archivalwatercolor paper with mixed media beore, so this was a testing groundor working the medium (acrylics/spray paint/ink) into a visual map oseemingly disparate elements. However, all the elements stem back to, andare joined by, the original source, my original grati tag, ESCE.

FLOATIES 1 & 2ON RECYCLED FAN BLADES \\ SIGNSONRECYCLED CHIP BOARD FROm 1974 (pg. 36)

A study in ound objects as transormable suraces using my mostrecognizable art creations/techniques. Characters and characters. Stencilsand paint.

STEm CELL \\ TOOLS_N_TESTS (pg. 37)

A deep space o refection or me as an artist in 2010, while working withteens rom Israel and Palestine on visual arts projects and as an artistin residence at Boston College. I gained a sense o understanding myheritage through my introspection and work. I broke down and cried while Iwas creating these paintings.

Aan Lazans-olvas AkA SpazCa s an nnanall cgnz uban as/sgn & usc/culual puc bn, as, an cunl sng n Nw y C. Fn s w a snup.c annvsblnsucns.c.

Secrt


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SEVE RILEy

Te Odd Coule is bsed on rel lie cheters. as I trvel round Newyork Cit nd Brookln b subw nd bus, I observe the reltionshis oeole. We re ll odd but beutiul in our own individul w. Te Odd

Coule collection is orgnic in orm nd rel in ersonlit.

THE ODD COUPLE EARRINGS (right, top)

999 fne silver2010

THE ODD COUPLE RINGS (right, bottom)

999 fne silver2010

THE ODD COUPLE BRACELETS (pg. 40)

999 fne silver2010

THE ODD COUPLE NECKLACE (pg. 41)

999 fne silver2010

Bn n 1967, Sv rl an a scl a UCe Bnga, Uk. Snc gauang n 1996 w a BAhns n a an sgn, rl as bn cang n a n a an jwl, wn s plac n a sgncpn Bs jwls Clv rang, cv a busa Pnc Wals Pncs tusFun, an pucs w tfan. rl nw ws s Bln su w cas sn--a-n pcs, accps pva cssns, an acs jwl ang. Sv rl als acs aWllasbugs Fzgal Jwl Su. F n n w an classs b Sv rl, vswww.svla.c.

HE ODD COUpLE


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pEER CICCaRIELLOIn the considertion o sgil imger, it immeditel becomesevident tht we re tlking bout the tension nd nervousness betweenobjects or things, most commonl used in reltion to celestil bodies.Looking closer to erth, one nds the sme concetul tension in moremundne everd objects. Te dichotom between things rovides thesme nervous ttrction nd reulsion occurring in dee sce. Withcreul exmintion, one sees dissolution o serteness nd urther

lignment o conjunctions nd oositions where reviousl, no rentconnections existed.

Te oking together o concetul oosites, in this cse, the orgnicnd the inorgnic, the living nd non-living, the useul nd the discrdeddetritus iners n inner lignment between the other nd the sel. It isessentill, both one nd two t the sme time. In ct, there ersto be usion o disrte things without loss o identit b either, hrmon o oosites. Here we hve Sg, s clerl s lnets in the

sme grvittionl sstem lign long lne. Tere is snchronitiontht revels itsel through this efortless lignment, n inherentconnectedness between ll things tht resents s hrmon o color, ormnd thing-ness.

piring the evoctive Lun moth (actis lun) with discrded metllictrsh rovided the oortunit to exlore this sgil reltionshi.Seen mostl t night, the Lun moth, with its disquieting eesots, livesroximtel one week with mting s its sole urose.

SyzyGy


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On the other hnd, trsh is ubiquitous. rsh sits t the intersection ourbn nd rurl (nother sgil oosition), o use nd discrd, o theersonl nd the ublic. rsh is the historicl record o culture nd ocivilition itsel. We nd the ersonl nd ublic detritus everwhere,choking wterws, windblown on our mountins. Tere is even

gigntic oting grbge eld, mostl o bits nd ieces o lstic, inthe northwest pcic Ocen, bout thousnd miles of the cost oCliorni.

But trsh lso sits in the liminl sce between beut nd ugliness.Found trsh, out o context, hs new, resh nd vitl mening. Tejuxtosition nd visul tension o the nturl nd the unnturl, theliving nd the discrded ded, serves to identi the inherent oeticlnture in these objects. Here we hve trsh s oetic object.

Te viewer resonds to this dichotom in multile ws. Te use ocollge nd stiche in rst stge montge is urther eroded bming the resultnt imges into 3-D sotwre rogrm, this serves torgment context in n even more disturbing mnner. rsh becomes rt,dvertising text becomes oetr. rsh nd Lun moth combine into snthesied visul imge tht reresents n mlgm o oosites.

Te exlortion o the sgil reltionshi begins with the Lun mothnd trsh nd extends to other dimetricll oosed imges nd

concets.

LOvE FLIES LOW WHISPER REDUx II (pp. 4445)

BITTER PILL II (pp. 4647)

TINY SKY STILL LIFE WITH FEATHER (pp. 4849)

BEING OF mAN (pp. 5051)

LOvE FLIES LOW WHISPER REDUx II (pp. 5253)

BIRD IN A BASKET (pp. 5455)

P Cccall s a Nw englan-bas vsual as w ws a nscs cav na,w pcss vlaps an ns an bcs ca b an vlun as.Fn s w a nvsblns.blgsp.c al a [email protected].

peter Ciccriello


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an Interview baIBa . EDWaRDSChildhood riends Moll yestdtnd Jne pincus set out tocrve their niche in the worldo milliner. Te hts tht theroduce under the yestdt

Milliner lbel hve been seen onshows such s Gossi Girl nd inmgines such s Elle, WWD ndNlon. ucked on cobble stonestreet ner Chintown, I hd chnce to visit the two t one othe yestdt Milliner sces sthe were reing nd rming

u roduction.ATIBA T. EDWARDS: Pleaseintroduce yoursel to the readers.

mOLLY YESTADT: I make hats.

JANE PINCUS: I work with Mollyand we own and run YestadtMillinery.

ATE: What led each o you to usethis as your orm o expression?

mY: I love working with my hands.It was about nding a way todesign in a hands-on way. Alsonding the niche in the [ashion]industry where you can havereedom.

J: I handle the sales end while shedesigns, does the sampling andproduction.

JP: While Molly was taking classesat F.I.T. or her millinery certication,everyone would go to her oldapartment on the Lower East Side

and the wall would be coveredwith hats. People were respondingto them and wanted themthatswhat started the conversation.Coming out o school and havingworked or dierent companies, webrought our individual experiencesto the table and had this brain child

idea and said lets do our ownthing together.

ATE: Where do you each draw yourinspirations rom when you cometogether?

JP: I love New YorkI call it beingin the trenches every day. I getto see all these dierent gears o

the cycle in any given dayromgoing into actories and watchinggarments being produced or intoa design studio and seeing a newcollection. When we discuss anidea, I can draw upon all thesedierent experiences.

mY: I always draw upon color and

MILLINERy RESUSCIaION


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depth and how they interconnectas the starting point or everything.

ATE: How has millinery and thewearing o a hat evolved?

mY: The language o hat wearingdoesnt exist in the same way thatit used to in terms o etiquette andthings like that. In that respect, wehave a lot o reedom. Millinery isan old term and it reers to a handcrated product. That is what weare doingmaking hand-cratedhats that are up to pace with the

ashion season.JP: Hat wearing serves a purposeor you. I you do not want to dealwith anyone, it can do that oryou. It is up to whether you wantto welcome people in or shieldyoursel rom them.

mY: The hat creates a space,either open or closed, aroundyou. Like sunglasses. somethingis hidden, but something is alsosimultaneously there.

ATE: How do the materials you useplay a role in your design?

JP: We nd something that we love

and create around it. Coming roma abric background, I eel thatwhat you use is just as important aswhat you create with it.

ATE: What was your rst hat?

mY: I made a simple cloche whileI was in school. I gave one o myrst hats to Elizabeth John. The

rst grouping that I made, I used allthis weird beaded ruitmy teachermade me cry.

JP: I remember that! I cameback rom UMass- Amherst one

weekend and we used it in a hatshow in Chelsea.

ATE: Where or on whom would youwant to see your hat tomorrow?

mY: Anna Dello Russo.

JP: Shes turned her editorialcolumn into a PR machine. Why

Molly cites her is because she hasbeen known and is photographedwearing orward thinking and crazystu. She would wear the wackiestand craziest designer duds thatyoud see walking down the runwayand looks awesome. Peoplestarted ollowing her personalstyles, and she recently came out

as a huge supporter o wearingnot just hats but headpieces. Asthe subcategory in the millineryworld, headpieces takes someguts because you have to be reallycomortable to wear them. Annacame out and said everyone shouldbe doing this.

mY: She made it her personalmission.

JP: Respect to Anna Dello Russo.

One area we would love to do hatswould be or a European runwayshowlike to do the hats or Louis

Vuitton.

Milliner Resuscittion


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ATE: What are you working onnow?

mY: We are doing developmentor Fall 2011 which will premierin February or Fashion Week.February is going to be a bigmonth because we will be doingour own preview o the newline in addition to doing runwaycollaborations and marketing.

JP: It is literally a lot o planning orone month o craziness that setsthe tone or your next six months.

ATE: Thank you or your time.Beore we wrap up complete thephrase Art Is...

mY: Art is context.

JP: Art is reedom. Art is un mostimportantly.

ysa mlln s a Nw y C-basa cpan sng nz awaan susca lln nus. Tpcs a a x l wl casansp ancnpa sl. F nan vswww.salln.c

Milliner Resuscittion


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aMINa HaSSENTis selection o hotogrhs is rt o lrger bod o work entitled

I you Listen Closel, hotogrhs shot in uninhbited nd oreclosedhomes in northest Ohio. Tese uninhbited homes re lled withthe lingering energ o eole who hve lived in them nd ech roomtells stor o ormer residents tht I tr to bsorb nd document inhotogrhs. I engge in collbortive rocess with the sce, lettingthe rchitecture, decortions, light, resence nd voids delimit how I tke

the hotogrhs. ensions rise between the beut nd ride o echsce nd the unortunte stories o oreclosure nd bndonment. I trto highlight the nture o the homestructures we become emotionllttched to tht seem hsicll ermnent, but tht ultimtel brekdown. Tese hotogrhs re lso socil commentr on this historiclmoment in americn lie, lled with the mth o ermnence ndembedded in ruture, divorce, oreclosure, dec.

BEDROOm DOWNSTAIRS, vINE STREET (right)Paying close attention to light has become very important in my shootingpractice, as it is the presence that really activates the space. Each photo Itake requires careul planning and sometimes multiple visits to the homesso that I can capture the light.

C-print20" x 24"2010

RESIDUaL ENERGy


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BATHROOm, vINE STREET (above)

This home has been uninhabited or some time now, with no sign o theowners, except or their abandoned or orgotten belongings. I revisited thishome several times since October, 2009 and the only signs o change are

the passing light and the gradual increase in mold.

C-print20" x 24"2009


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BEDROOm, STATE ROUTE 534 (above)

It was a strange experience to see so many homes that (at leastsupercially) were completely inhabitable. This highlighted the tension otheir slow, quiet takeover by nature.

C-print20" x 24"2009


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HALLWAY, STATE ROUTE 534 (above)

The landscape surrounding this home was also a huge presence inside.This window ramed it nicely.

C-print20" x 24"

2009


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POOL ROOm, STATE ROUTE 534 (above)

This home in Southington, Ohio was oreclosed on in October, 2009and has remained uninhabited since then. It is also the ormer homeo heavyweight boxing champion Mike Tyson, although it was not inhis possession at the time o the oreclosure. I was drawn to show this

particular home because it helps represent, to me, the ull range o peoplebeing aected by oreclosures in the US.

Ana hassn s an as cunl lvng, wng an xplng n Nw y C. S uss u anlag a pgap as cuna ls. Fl cnac w an acns, ugs,qusns a [email protected].


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RoBn

You rub my backOn my shoulder blades

you touch the places where my wings once were.

I dont know where they are now.

Sometimes I ache in their absence

I look or them.

Maybe they are buried beneath the rumpled bedclothes.

no.

Maybe they are on the topmost shel, obscured by dust and guarded bycobwebs.

no.

Ive already searched under the bed, behind the doors and in thecupboards.

I wonder where they are now.

More importantly, how did I lose them?I have no memories.

My skin in the places where they were attached is raw. Sensitive.

I eel them sometimes like I imagine amputees eel their phantom limbs.

Where they worn away by everyday orces?

Did they atropy rom lack o magic?

Was it a knie, quick, cold and cruel?

Or were they just torn rom me as i I was a fy in the hands o a mean child.

You kiss my back and I eel less raw.

A ew more kisses and I giggle.

I can almost eel them now.

Js gal. Lv a, ccla, agc, sx an slp. S s cuus. Sngs lul an f-, ancng la w gl. happs plang w cpu, pans, caa, bs an wapp n blan. Can bsac b sn ngs.

WING pOEM


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SIMONE GRaN

Steering toward the sun

To resist the tide o change

Only to be caught

Sn Gan s gnall nn Calna an ws n a usu n wn manaan. Scunl ss n Sunns, Quns.

UNa FISH


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MIKE ROSENHer sheets were empty when I came home rom the hospital

which was not surprising

because these sheets

were never used or sleeping

were never made or sleeping

these sheets were not made or sleeping

were made to cradle alling porcelain rom kitchen foors

the empty plate, poised in shaking ngers

o the high resolution images that ll this picture book

documenting anorexia and bulimia in thirteen year old girls

I do not know this disease

but I know those, those are bones,

those are the bones that orm ngers,

we call them disgured, emaciated,

human piles.


were made to be tied together and dropped

out o windows

like ladders so she could escape

then stream behind her as she whirled

bareoot skies dancing hurricanes

out o Saturday aternoons


were made to be used as slings

SHEES


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made or gauze wrapping her rozen injuries

made to satin siphon the blood rom wounds I couldnt close

made to keep her warm

because when a body drops to 92 degrees

it doesnt eel like August

its too painul or her to sit on the ground and

terms like hormone replacement therapy

imply that she has starved hersel back into childhood

these sheets were meant to be used or scrolls, or story books,

or stories, or the story already scripted into individual ribs

something, about bike rides, and sunsets

prom dates and airy tales, rst kisses, rog princes

and teddy bears, but no

these sheets were not made or comort

were made to simulate a sense o control

in a thread count that matched her daily caloric intake

a sense o control

in a world where she had none

so she made her own

in a sense that maniests at breakasts she never ate

at lunch when her side smiles handed out cupcakes

at dinner tables with amily when she did nothing

but hold ood in ront o her ace

did nothing but hold ood in ront o her ace

just to prove

that she could resist

Mike Rosen


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this is not how people were meant to exist

is something that I could not x

something that no body can x

this is a disease

this is a virus

this is what causes double vision in adolescence

and hallucinogenics in pre-pubescence

why misogyny and cosmetics

should be considered types o eugenics

this is not the last breath o a coward who enorces the death sentence

this is the death sentence

did you know that in the developed world

twenty percent o people diagnosed with an eating disorder

die

twenty percent equals one out o ve

I have ve riends who are diagnosed anorexics

I do not know

which one this poem

is or.

I do not know

to whom those sheets

belong.

m rsn s un an publs TNwCnusn (www.TNwCnusn.c). h s a suna Wslan Unvs pusung a bacls g n engls. yu can ac [email protected].

Mike Rosen


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aLLISON MaRIza LaSKyOn the ternoon o his 2nd birthd, m nehew, Sebstin, sned hisrst hoto. While using m hone s to to nibble on, he ccidentllturned on the cmer eture nd shot this bright sel ortrit. Childrenre individul universes o cretivitI hoe Sebstin never stosointing nd shooting.

Allsn s c-psn F.o.k.U.S., asssan c a Bln pscl, an s wng was ass n publc al.

FIRS CLICK


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Curted b aIBa . EDWaRDSFor this issue, I decided to turn the llist over to the F.O.K.U.S. Cruto see wht the re listening to. as result weve gotten some verinteresting musicrnging rom Romnin music to locl ann arborMC to clssics like Frnk Sintr nd Ett Jmes. It elt like I got chnceto go record digging with the entire NyC Cru nd hve them nd sometresures. I welcome ou to the virtul digging socil club.

ERYKAH BADU FOUR LEAF CLOvER (BADUIzm)

Here I am, on a cloud.../Catch a our lea clover /Maybe well get over/Try and lovemight come your way.

mACKLEmORE RYAN LEWIS - vIPASSANA REmIx(vS EP REDUx)space and time are a bunch o manmade distractions to measure a spirit that nohuman could ever capture.

CINEmATIC ORCHESTRA TO BUILD A HOmE (mA FLEUR)This is a place where I dont eel alone / This is a place where I eel at home.../ Cause,I built a home/or you/or me.

GRAFFITI 6 ANNIE YOU SAvE mE (COLOURS)Just when Im nding it hard to breath you lit the weight inside o me/ Oh baby I seethe light thats burning bright and were the stars.

FRANK SINATRA THE WAY YOU LOOK TONIGHT (vERY BEST OF FRANKSINATRA ALBUm)

Lovely ... never, ever change./Keep that breathless charm./Wont you please arrange it? /cause I love you .../just the way you look tonight.

ELLA FITzGERALD ALL THE THINGS YOU ARE - (THE COmPLETE ELLAFITzGERALD SONGBOOKS)

Finding your love Ive ound my adventure,/ Touching your hand, my heart beats theaster,/ All that I want in all/o this world is you.

BILL mEDLEY & JENNIFER WARNES IvE HAD THE TImE OF mY LIFE (DIRTYDANCING FILm SOUNDTRACK)

Just remember/Youre the one thing /I cant get enough o / So Ill tell you something /This could be love.

LAURYN HILL SWEETEST THING (mISEDUCATION OF LAURYN HILL)How much youre in love with me/See, like a queen, a queen upon her throne.../Fingertips on the small o my back/More valuable than all I own.

INFINIE pLayLIS: CHapER 7Virtual Digging Social Club


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BRUNO mARS JUST THE WAY YOU ARE (DOO-WOPS & HOOLIGANS)

Id never ask you to change/I perect is what youre searching or/Then just stay thesame.

ETTA JAmES AT LAST (AT LAST!)Oh, yeah when you smile, you smile/Oh, and then the spell was cast/And here we arein heaven/For you are mine/At last.

JOHN mAYER CITY LOvE (ROOm FOR SqUARES)Friday evening, weve been drinking/2 AM, I swear that I might propose/but we closethe tab/split a cab/and call each other up when we get home/alling asleep to thesound o sirens.

OJAYS CRY TOGETHER (SO FULL OF LOvE)Every day the sun doesnt shine/Sometimes it has to rain/Just like we enjoy thepleasure/We have to stand the pain.

EmILY KING U & I (EAST SIDE STORY)Oh, I have been waiting or all o this time /You, nally ound you, my love has arrived/Once there was me, now theres U and I.

BONUS TRACKS

CEE-LO ALL DAY LOvE AFFAIR (...IS A SOUL mACHINE)

LLASA DE CARA A LA PARED (LA LLORONA)

DON GYNCO CARAmEL (qUALITY STEEL)

CHEEKS mOON FEAT. PRHYmE RHYmE BOSS AND G.P. OF TREE CITY (THEPOTENTIAL)

THE ROOTS RIGHT ON FEAT. JOANNA NEWSOmE AND STS (HOW I GOTOvER)

CEE LO GREEN LOvE GUN FT. LAUREN BENNETT (THE LADY KILLER)

GORAN BREGOvIC EDERLEzI (SILENCE OF THE BALKANS)

vIvALDI CONCERTO FOR TWO mANDOLINS (IL GIARDINO ARmONICO PLAYvIvALDI)

THELONIUS mONK CARAvAN (THELONIUS mONK PLAYS DUKE ELLINGTON)

CHET BAKER mY FUNNY vALENTINE (mY FUNNY vALENINE)

DUTCH PEARLS (A BRIGHT COLD DAY)

Innite pllist


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COVER aR: BIRD IN a BaSKEVolume IV | Issue 1

pEER CICCaRIELLO

In an ongoing series o experiments with visual and textual signs, I have become

increasingly interested in how narrative meanings are constructed. In rst creatinga photo montage, I select a working theme, in this case a bird hidden in a basket.

The tension in the image comes rom the stalking reptile and the act that the bird

is almost entirely hidden in the scene. The photo montage is brought into a 3-D

modeled environment where the image is mapped over the objects. The inherent

cohesion that the original montage contained is urther ragmented by this process,

and as a result, the bird becomes invisible. Hiding and disappearing, searching and

nding, saety and terror are several o the issues that are inerred. The viewer is let

with many clues in deciphering the image meaning, and the elusive, purposeully

ambiguous meaning is altered by the perception o each viewer, driven by what eachindividual brings to the experience.

What is the artists intent? How is that intent altered by perception? How we see

and interpret visual signs helps to ormulate the narrative o any given image. The

repercussions o individualized perception versus intent is what we deal with every

day culturally, politically, and spiritually in our inormation and data-saturated lives.

Find his work at inisiblenotes.blogspot.co or email him [email protected].


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INSIGHT Magazine | Issue #25

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