yba's

And once it comes, now that I am wise in its ways, I no longer fight it. I lie down and let it happen. At first every small apprehension is magnified, every anxiety a pounding terror. Then the pain comes, and I concentrate only on that. Right there is the usefulness of migraine, there in that imposed yoga, the concentration on the pain. For when the pain recedes, ten or twelve hours later, everything goes with it, all the hidden resentments, all the vain anxieties. The migraine has acted as a circuit breaker, and the fuses have emerged intact. There is a pleasant convalescent euphoria. I open the windows and feel the air, eat gratefully, sleep well. I notice the particular nature of a flower in a glass on the stair landing. I count my blessings.


Image: Tracey Emin.  My Bed, 1998. mattress, linens, pillows, objects, 79 x 211 x 234 cm

Text Excerpt: . Didion, Joan. “In Bed.” We Tell Ourselves Stories in Order to Live: Collected Nonfiction. New York: Everyman’s, 2006.

Charles Saatchi - Question



There are not too many books out there that can be read and shelved well inside the hour mark. Charles Saatchi’s absurdly-titled 2009 book, My Name Is Charles Saatchi And I Am An Artoholic: Everything You Need To Know About Art, Ads, Life, God And Other Mysteries-And Weren’t Afraid to Ask… is one of them. And now from the same author comes another sub-hour read: Question, the latest paperback bound transcription of a Saatchi Q&A session.

Once again, the ad man turned gallerist submits himself-at his leisure, of course-to a series of questions posed by journalists, art critics and Joe Public. Here, in what the publisher calls “his brutally frank responses,” Saatchi talks art, divorce, the human condition, religion, the royals, money, the press and sex, among other things.

On the improbable success Saatchi & Saatchi, the ad agency he co-founded with his brother, Maurice: “It’s hard to imagine how any client could entrust their advertising account to two pushy youths with silly names, carrying on with a burning righteousness that would have fooled nobody.”

Of the inane, blaringly loud commercials that punctuate modern television programs: “The stupidity of advertisers and broadcasters who take the public a) for granted and b) for mugs is bewildering.” After all, pumping the volume up to “awesome levels” is not only “very irritating” but also “self-destructive because … many people now have the technology to skip past the commercial breaks, and so of course they do.”

As for art, and artists specifically, Saatchi says, “I admire all artists. It’s the cruellest job you could ever take on, particularly if you are gifted, but forever unrecognized.” But for those considering forging a career as an artist, think again. As he says, “The odds are stacked very heavily against making a living out of it.”

QUESTION
Charles Saatchi
174pp. Phaidon

Book and cover image courtesy of Phaidon.

Mixed Media

From wikipedia:

‘Richard Billingham (born 25 September 1970) is an English photographer and artist who is best known for his photobook Ray’s A Laugh which documents the life of his alcoholic father Ray, and obese, heavily tattooed mother, Liz.’

24/10/14

From what I’ve read so far, his work has gained prominence for his exhibition within the infamous 'Sensation’ exhibition that skyrocketed a lot of the YBA’s to fame. 

His photobook 'Ray’s A Laugh’ was shot on the cheapest film he could find, which I love. It gives them a more authentic feel, it strengthens the belief in making amazing work with cheap materials, if its all you can do.

The portraits of his mother and father are incredibly personal, an exposure of his poverty-stricken life growing up and how his parents live.

This is what I love about these photographs, their intimacy. 

2

This is my current bass setup, which is the first one I’ve had that I’m actually excited about. My amp is a 50 Watt 1973 Traynor YBA-1 Bassmaster through a 1978/79 Fender Bassman 2x15.

I run a American Standard Fender Jazz Bass through my board, which has 2 chains that split out of my tuner. The first one is my “clean” channel that just goes through my TC Flashback then into the first channel of the amp and the second runs through all of my effects and into the second. I then jump the channels because it gives me a little more drive. I eventually want to do an ABY setup with the clean channel going into a small, more traditional bass amp that gives me a cleaner low end, since the Traynor breaks up pretty quickly.

#regram from that absolute BABE @msmapes.

Next solo project at @thecobgallery in London opening 5th June.

#TheKapulets #KimKardashian #RealityTV @kimkardashian #kuwtk #skakespeare #art #feminism #feministart #sarahmaple @kyliejenner @kendalljenner #kyliejenner #kendalljenner #britishart #performanceart #yba @khloekardashian

10

Christopher Shannon Pre-Fall 2015 collection

 

Words by Alessandra Conti for LURVE Magazine.

 

Christopher Shannon Pre-Fall 15 collection is, for the second time, womenswear. Inspired by the artist Henry Bond and in collaboration with the legendary Judy Blame, who realised the plastic bags hoods, this collection is a continuation with the men’s AW15. We were curious to know a bit more, so we asked him few things:

 

What aspect of the YBA artist Henry Bond has inspired this collection?

 

Henry’s book ‘The Cult Of The Street’ is one of my favourites, I probably have at least one image from it on the wall every season.

 

How does it feel to work with such a legend like Judy Blame?

 

I think there are very few really amazing stylists around, Judy is really quite old school. The way he works is really hands on and considered, he isn’t afraid to get his hands dirty, in fact I think he prefers it. I think fashion lacks a certain tactility at the minute, Judy can turn anything into a piece of jewellery, I never tire of seeing how he works. Judy was so fundamental to me wanting to do fashion, I think he takes all the pretension out of it and just wanted to make really strong imagery, that’s really stayed with me. Working with him feels like coming full circle.

 

How do you think a contemporary woman should be dressed?

 

I don’t like to dictate. I like to offer an alternative, that relates to the women I know and work with. I’ve never liked dolly dressing up type fashion nor ugly for ugly sake which I find so pretentious. I just work piece by piece, we have to offer something not available on the high street that feels accessible with a point of view.

 

What do you think has changed in you and in your work since you have started your career in fashion?

 

I think it changes all the time, it’s a constant really awful learning curve. It would be nice for a season to be really smooth.

 

What advise would you give to someone who want to start a career as a Fashion Designer?

 

I’d almost say don’t do it. I think if your motivation is just to 'be in fashion’ then you are probably in the wrong business. There’s already so many hangers on, what fashion needs is more people with a point of view and their own ideas, and less plagiarising sociopaths.

.LXXXVIII.LXXXIX.

Pagaliau išeinu į ilgai išlauktą laisvę. Laikas nors ir nėra jai parankus, tačiau džiaugiuosi galėdamas kaip nors pakeisti savęs dalį bent trumpam ir atsipalaiduoti nuo visumos, kuri mane pradėjusi smaugti. Nežinau kuo baigsis ši kelionė, tačiau visame tame ir yra įdomumas juk, tiesa? Atvėriau dalelę savęs žmonėms, kurių nepažįstu ir pasijutau bemaž geriau. Apgailėtina, tačiau esu jiems dėkingas. Pasijutau vėl žmogumi, kuris gabus suvokti ir bandantis savęs kontroliuodamas nepasimesti sezono sužadintoje emocijų bangoje. 

#Screenprinting Garb


Haus of YBA
is
Coming! 👤 #fashion #instafashion #paris #fashionweek #hausofyba #apron #creativefashion #projectrunway #youngdesigner #indiedesigners #creative #Conceptual #avantgarde #beyonce #showroom #love #handmade #london #painting #celebritystylist #HausofYBA #katyperry #silkscreening #lvmhprize #art #love #etsy #unique #fashionbusiness

[ Authors ]
Laimei Nie, Lauren E. Hayward Sierens, Roger G. Melko, Subir Sachdev, Steven A. Kivelson
[ Abstract ]
We study a quasi-2D classical Landau-Ginzburg-Wilson effective field theory in the presence of quenched disorder in which incommensurate charge-density wave and superconducting orders are intertwined. The disorder precludes long-range charge-density wave order, but not superconducting or nematic order. We select three representative sets of input parameters and compute the corresponding charge-density wave structure factors using both large-$N$ techniques and classical Monte Carlo simulations. Where nematicity and superconductivity coexist at low temperature, the peak height of the charge-density wave structure factor decreases monotonically as a function of increasing temperature, unlike what is seen in X-ray experiments on YBa$_2$Cu$_3$O$_{6+x}$. Conversely, where the thermal evolution of the charge-density wave structure factor qualitatively agrees with experiments, the nematic correlation length, computed to one-loop order, is shorter than the charge-density wave correlation length.