December on the Lower East Side in New York, it’s raining when it ought to be snowing, and the boys of Mothxr—the New York-by-way-of-Los Angeles band fronted by Penn Badgley and completed by Jimmy Giannopoulos, Simon Oscroft, Lakis Pavlou, and Darren Will—are dressed like it’s spring come early: tank top, light denim, satin jacket, fitted cap, and leather boots. The band, brand new and with just four officially released songs to their name, is right at the end of a three-week residency at Pianos, two doors down from the Ludlow Hotel, where they’re hanging out.
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Lush and mysterious, Michaël Borremans’ canvases give the impression of emanations from a hidden, half-lit realm, operating wholly outside of our manicured reality. Rendered perhaps most uncanny by their eerie stillness, his paintings are populated with figures who act out odd pantomimes, alone or with each other, while seemingly in the depths of a somnambulant trance.
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There is, these days, no shortage of figures in the public eye who have leveraged a famous last name, and little more, into a modicum of renown or notoriety. Max Irons is not one of them. Yes, his parents are the Oscar winner Jeremy Irons and the Tony-nominated actress Sinéad Cusack, but it is clear when speaking to the young British actor that he has rightfully earned the success that is now coming his way.
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For over half a century, the duo of François-Xavier Lalanne (1927–2008) and his wife Claude (born in 1924) created elegant sculptures and furniture, frequently with a playful, zoomorphic touch. The designs of “Les Lalanne,” as they are more commonly called, have often appealed to an especially louche corner of the Parisian demimonde: both Yves Saint Laurent (seen above in an exclusive archival image with François-Xavier) and Serge Gainsbourg were strong supporters of the duo’s practice. > Read More
Peter Lindbergh’s Images of Women II is an elegant celebration of female beauty and the German photographer who has been capturing its elusive qualities for several decades. Published by Schirmer/Mosel to commemorate Lindbergh’s seventieth birthday, the Juan Gatti–designed tome features over 320 images that focus on a body of work created between 2005 and 2014. > Read More