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Provocative Portraits by Geoffrey Chadsey
For many individuals, the fitful isolation imposed by the pandemic has produced a crisis of self-presentation: What should I wear now? How do I would like to be seen? The artist Geoffrey Chadsey’s latest show at Jack Shainman addresses this conundrum head-on in a series of larger-than-life portraits done in watercolor pencil, though his exploration of those questions has spanned many years. His latest subjects are composites caught between identities: a Black man in a cowboy hat sprouting extra white limbs, an androgynous figure in a daring red suit prodding their chest into cleavage, John F. Kennedy in football pads. “The drawings are in some ways about photography,” Chadsey says, “how men project a way of self through self-portraiture online. After which I like after I get to recombine them and accidents occur.” He builds his sketches in Photoshop using found material, from magazines to archival medical photos to mug shots, before drafting each figure onto mylar or collaging old drawings together. The fluidity of his process and materials mirrors the slipperiness of the themes themselves, whom the artist jokingly compares to paper dolls. “There’s something about that full-frontal image,” Chadsey says, “this solitary figure projecting a self out into the world. There’s a desire for engagement that the viewer is a bit of uncertain about, whether or not they want to select that up or not.” “Plus” is on view through June 18, jackshainman.com.
“The more I travel, the more I keep going back to the identical forms of restaurants: iconic steakhouses,” says the Canadian chef Matty Matheson. The boisterous food personality, who found fame on Viceland and YouTube teaching audiences the right way to baste steaks or go duck hunting, learned to cook in Toronto’s French bistros and co-owns 4 restaurants in Ontario. His latest, Prime Seafood Palace, is partially inspired by old-school stalwarts like Latest York’s Peter Luger and a childhood love for the Canadian chain, The Keg, but there aren’t any red leather booths or dark paneling in sight: As an alternative, Matheson asked the dynamic architect Omar Gandhi to construct an airy wood cathedral on Toronto’s bustling Queens Street West. A slatted ceiling of locally sourced white maple curves to fulfill vertical brass screens, giving the sensation of being nestled inside an ark (or perhaps a really luxe lobster trap). Custom peachy leather booths from Coolican & Company circle tables with hidden drawers that hold gleaming Perceval steak knives until the porterhouse arrives from the open kitchen. There, Atlantic seafood, Ontario beef and produce from Matheson’s own Blue Goose Farm near Lake Erie are cooked over cherry wood coals. He acknowledges the elegant surroundings are a level up from his early days as a goofball screen star. “It’s a juxtaposition in what people perceive me as versus what they’re going to walk into,” Matheson says. “I’m 40 now, and Prime Seafood Palace is a really mature, beautiful, thoughtful restaurant.” primeseafoodpalace.ca
A Vibrant Tote From the Artist Nick Cave
The SoHo-based bag brand MZ Wallace has been collaborating for over a decade with high-profile artists comparable to Raymond Pettibon, Kerry James Marshall, Njideka Akunyili Crosby and Glenn Ligon. Next up is Nick Cave, the Chicago-based artist known for creating kinetic Soundsuits that marry sculpture with performance art. “These patterns usually are not just reproductions of my work on fabric,” says Cave of the exuberant flowers, sequins and buttons printed onto the recycled fabric of the tote, “they’re clips of images, remixed like a D.J. might explore sound.” The slogan on the strap — “Truth Be Told” — originates from the artist’s public work from 2020, first installed in Kinderhook, N.Y., which featured the phrase in black vinyl letters stretched across a 160-foot facade as a response to the killing of George Floyd. The bag launched along with Cave’s retrospective, which opened this month on the Museum of Contemporary Art Chicago, and proceeds from its sales profit the museum’s educational programs, in addition to the Facility Foundation, a nonprofit organization led by Cave and his partner and collaborator, Bob Faust, which provides scholarships and opportunities for emerging artists. $325, mzwallace.com and on the MCA Chicago shop. “Nick Cave: Forothermore,” is on view until Oct. 2 at MCA Chicago.
Victor Glemaud’s Latest Line of Home Goods
For his first foray into interiors, the Haitian American clothier Victor Glemaud looked to his own Latest York home and the mementos that tell his story, including a picture of himself as a 1-year-old, clad in a mint green short set and white boots, cutting into his first birthday cake. “That photo is a mirrored image of my essence, and this collection was a chance to bring that essence to life in a latest way,” says Glemaud, who is thought for his statement knitwear in joyous tones of neon pink or lime green. He partnered with the esteemed design house Schumacher for the road of materials, wall coverings and trims, called Cul-De-Sac by Victor Glemaud, and the 14 patterns, each rendered in as much as 4 daring yet balanced colorways, pay homage to his Haitian heritage and Latest York roots. A print called Toussaint Toile champions Haiti’s liberator, Toussaint L’Ouverture, alongside lush palm fronds and hibiscus flowers, while Virginia Panel is a geometrical style characteristic of the Nineteen Seventies, with curving stripes in black and white. Lots of the prints are named for the powerful women in Glemaud’s life, just like the Fabienne, a tropical floral in deep red or pale lilac. Together, the patterns are evidence of — and materials for — a colourful life. From $300, fschumacher.com.
Walking south on Elizabeth Street, just above Canal, you’ll find spot an not easily seen message on a brick wall that reads 2+2=8. A painting by the Detroit-based Tyree Guyton, it’s an introduction of sorts to an installation round the corner: Inside a small, windowed storefront operated by Martos Gallery, Guyton’s dealer, the white partitions are painted with clocks (one in every of the artist’s recurring symbols), and at a table covered in detritus like an old TV, a tea set and a bit of rusted metal, a bunch of dirty mannequins sit as in the event that they are a family scarfing down dinner in full view of the traffic coming off the nearby Manhattan Bridge. For much of his profession, which began within the Eighties, Guyton has shown his work on a stretch of Detroit’s Heidelberg Street, where he grew up. As manufacturing work declined, and the neighborhood fell into disrepair, Guyton began an unorthodox act of preservation, turning the world into a preferred open-air museum by filling vacant lots with sculptures and paintings produced from discarded relics: stuffed animals, busted sneakers, automobile hoods, broken vacuum cleaners. This tiny Latest York show reveals Guyton each transcending and perpetuating the legend of Heidelberg, and solidifying 2+2=8 as an inventive treatise. In case you look close enough, anything — be it the block you grew up on or a busy Latest York street corner — is usually a place of beauty and reflection. “The Heidelberg Project, Latest York City” is on view 24 hours a day, indefinitely, at Martos After Dark, 167 Canal Street, martosgallery.com.
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