I thought I would manage a quick trip to the new Whitney Museum to do a @SeagullSalon must see list of women artists... There is no quick trip to this INSANELY huge space, but I managed a few before the main event; Andrea Geyer's Time Tenderness. In the piece, Geyer works with dancers who sing, move and speak the narrative of Gertrude Vanderbilt Whitney. Her commitment to art as cultural identity and her founding of The Whitney Studio Gallery (West Village 1908) which would ultimately blossom into the 1931 founding of what is now the Whitney Museum that we know... Or knew. It's now relocated back downtown.
Geyer's is a an informative and personal look at Vanderbilt-Whitney's life. It starts on the eighth floor gradually working its way through and down the floors of the building. It is a three hour piece that lasts from 3pm-6pm daily until May 18th, so catch it if you can.
Here are some other not to be missed pieces from the Whitney collection that will be on display through September 27, 2015.
Organized chronologically, the exhibition’s narrative is divided into twenty- three thematic “chapters” installed throughout the building. These sections revisit and revise established tropes while forging new categories and even expanding the definition of who counts as an American artist. Indeed, each chapter takes its name not from a movement or style but from the title of a work that evokes the section’s animating impulse. Works of art across all mediums are displayed together, acknowledging the ways in which artists have engaged various modes of production and broken the boundaries between them.
Louise Bourgeois, Quarantania, 1941
Alvin Loving, Rational Irrationalism 1969
Eva Hesse, no title, 1969-1970
Louise Nevleson, Dawn's Wedding Chapel II, 1959
Susan Rothenberg, For The Light, 1978-1979
Karen Kimimnik, The Hellfire Club, Episode of the avengers 1989
Sue Williams, The Hose, 1994
Carol Bove, Adventures In Poetry, 2002
I'm super happy that @GabrielleKorn thought my first part in a three piece series about navigating hair salons. From interviewing stylists, managing expectations and responding to hair outcomes, I have been working on what is hopefully super informative and empowering advice to clients.
Dismantling standard beauty ideals holds a special spot in my heart and I'm looking forward to doing a lot more writing for NYLON.COM in the near future.
The formidable Senior Editor at Nylon.com, inarguable fresh fashion maven + all around raddest lady Gabrielle Korn came in to Seagull to discover what all the fuss around Olaplex was about... For herself. And also for an article called.
We talked in detail about how Olaplex works with color to restructure the bonds in hair while the color is doing it's job. She did some good before and afters for the article.
We also got into some ways to use Olaplex not offered up on their very detailed directions packet. Here at Seagull we are not afraid to look at the benefits of one way to use a thing and start applying those benefits to other situations. How to grow your long hair more gracefully. How to treat sun damaged locks in the early fall or after a harsh, radiator heat NYC winter.
Check it out the article HERE. to see how awesome her hair turned out and what she has to say about it.
xoShaun SureThing for Seagull Salon
Despite being on view at the Contemporary Arts Museum Houston (CAMH), Marilyn Minter: Pretty/Dirty is definitely Seagull Salon blog material: Minter is art royalty and an inspiration to the salon. And I was lucky enough to be down in Houston to revel in Minter's three decade exploration in painting, photography, and video.
Minter's early painting studies and student photographs of her Southern recluse mother lounging and primping open Pretty/Dirty...
...before showing Minter fully embrace the glamorous vs. the grotesque themes central to her work.
Minter's work is messy yet slick. She's making jokes but asking questions, too.
Why might these images be seen as disturbing to some? The details one might find to be jarring in her work are actually not if you think about it, as the "grotesque" aspects are usually nothing more than a pimple or messy nail polish application or overgrown pubic hair. The imperfections allowed to exist in these glossy photographs are actually interferences with the mainstream idealized concepts of beauty seen in glossy magazines. What is typically edited out of a photo then becomes vital to Minter's work.
And it's when Minter fully commits to her pretty/dirty aesthetic that the work really comes to life. The colors become more vibrant and glossy, too, which is no surprise: she is letting her creativity run wild with her subject matter. Saying the CAHM show is beautiful would be an understatement. The works hang huge on the wall and are fun to look at because Minter is having fun with her work.
Marilyn Minter: Pretty/Dirty is a fantastic glimpse of a visionary at work. Go see it at the CAMH or Colorado or California---or Brooklyn when it comes to NYC next year!
Mark Spitzer wrote THIS AMAZING PIECE about the film The River's Edge for Salon Magazine. It's all the way back from January and I can't believe I just now found it. The film played a large, if pretty unnoticed part, in shaping the decades turn and subsequently paved the way for 90's fashion. Tapping into the kind of disparity and angst of what was gelling as the grunge scene in the Pacific North West at the time, the characters in the film were bored, angry and kinda aimless. Living from moment to moment and waiting for the next empty high.
I use this movie as a reference frequently in my styling chair for hair, fashion and general feel when trying to capture or reproduce a look that is both quintessentially 1990's... But also a 1990's that is borrowing heavily from fashion of the late 1960's and early 1970's
The style/fashion moments I find most fascinating are the turning point of decades rather than the decades themselves. What we often think of as the definitive moments in fashion are actually from a 2-3 years earlier in the decade before. The River's Edge is a perfect example of this. As is it's kind of older sibling, 1979's Over The Edge with Matt Dillon and Pamela Ludwig, who's character Connie is the unsung fashion icon for a swiftly approaching 1980's
Anyway. Mark's piece on the film is awesome and totally on point and accurately describes the movie and examines it's content which fleshes out what would become the zeitgeist of Generation X well before Douglass Copeland's 1991 Generation X: Tales for an Accelerated Culture or Elizabeth Wurtzel's 1994 Prozac Nation (Both great reads anyway).
If you haven't seen these movies I highly recommend a double feature if the whole 1990's, 90's regarding 70's fashion is yer bag. It totally is mine.
xoShaun for Seagull Hair Salon NYC
Brooklyn-based artist and photographer Kimi Selfridge has been holding it down with us at Seagull for a good half decade now, regaling the salon every few weeks with deadpan gossip from Shaun's chair as he paints color onto her legendary blonde waterfall of hair. Chances are, you've seen her photographs before, many times over; her signature portraits—shot exclusively with Polaroid and expired film under her photography/styling umbrella Tan Camera—depict a soft-focus, grunge-pop dreamworld populated almost exclusively by girls, a languid realm of double-exposures, rainbow hues, sunglasses and opulent snacks. Thanks to her unmistakeable aesthetic and a relaxed but effective social-media savvy, what began as a hobby ended up amassing a huge (and growing) body of work that has become nothing less than executive Tumblr bait, instafaved and reblogged by an international fanbase of girls on the internet — ensuring a steady stream of photography and direction work with some very major clientele.
With a global fan base 58,000 Instagram followers strong on deck and an enviable client roster including everyone from Google to Geico to Chloe Sevigny under her belt, she's currently hatching plans to springboard into new artistic arenas. We paid her a studio visit on a recent snowy day in Brooklyn for a glimpse behind the scenes at Tan Camera, and to sneak a peek at what Kimi's cooking up next.
Clad in a vintage Garth Brooks tee as minidress, Kimi welcomes us into her space, apologizes for a touch of sleep dep after a late night celebrating with friends, and informs us she's moving out of the live/work space she's been in for the past several years in just a matter of days to divide her time between the sunnier climes of LA and Miami. It's crossroads time, but you can't tell from the pulsing decor.
A giant white entertainment console covered in thousands of stickers houses a flatscreen playing a DVD of Jem and the Holograms, the surreal and sweeping 80's girl-supergroup fantasia whose coterie of Nagel-esque rock star heroines reign as patron goddesses in Kimi's cosmology. Racks of vintage clothes arranged by color, dolls from Clueless (the TV version) in original packaging, a lava lamp, Troll dolls memorabilia, a Clarissa Explains it All game, a dedicated stockpile of toy food miniatures, holographic pink crinkle foil, and a winsome portrait of a young Liza Minelli are among the retro and girlcore effluvia decorating the space.It's akin to stepping into Pee-Wee's Playhouse via Rookie — and feels very much like being inside a Tan Camera photograph. This makes sense because, as Kimi explains, there's no distinction between her art and the surroundings she creates; the space she arranges is just another extension of her overall vision. Her talent for preserving and cultivating her own unwavering vision, without worrying too much about what other people are up to, may be her greatest success secret. Self taught—no art school no photography classes—and admirably unconcerned with following her peers ("I don’t look at the internet, I don’t know what anyone else is doing, not that I’m against that, I just don’t do that, I don’t make time for that" she explains), she credits living alone from age 16 and getting to develop her own identity as integral to her ability to call the artistic shots. Call it the Tan Camera filter—she's basically been applying it to everything since she was little.
"I used to go to bed at night and just dream about clothes, to put myself to sleep, and I was always really obsessed," she explains when we ask where she picked up the styling/photography bug. "In Clueless, she has this—in the tv show they really took it to the next level, where she picks her wardrobe out. I would go to sleep and instead of counting sheep, when I couldn’t sleep, I would just think about like, physically putting clothes on a person’s body, or think about interior design things or art direction. I would just always think about that stuff, and my room would change every six months, minimum. This is probably the tenth or twelfth layout of this place [sweeps hand around the room]. I’d just always try to work with the space. That’s such a big thing to me, I’m such a feelings-based person."
So, she's been constantly set designing her entire life?
"My life, like this installation, or Tan Camera, whatever it is now, it’s just an extension of me as a person in one or multiple dimensions."
The installation in question here is Kimi's ongoing project, which has a lot to do with the aforementioned entertainment console covered in stickers. In its current incarnation, it's a behemoth of shelving rendered utterly kawaii through thousands of hours of painstaking sticker application, years of Kimi putting every little detail in the perfect spot.
It's not just a retro sticker archive, but an actual throwback to Kimi's own childhood and the framework for a large-scale moveable installation full of what she describes as a "happiness triggers" incorporating film, video and props.
"As a kid, I had this white set of drawers, and I would put stickers all over it. I had these little gems, and the plate for my light switch—one by one, with tweezers, I would sit and put these little crystals on it. Just for myself! It was for nobody else, and it took so much time, and then I’d sit back and look at it and I loved looking at it."
She hopes to channel the memories of that private, undistilled happiness vibe into a full-on realm where others can tap in. Without spoiling too many of the details before the official details are released: it may involve fabric, there might be color coordinated lighting and it may be big as a house.
"This is a prototype.... Ultimately what I’m working on is, this installation is meant to be a nostalgic dreamworld. It depends on the space, I could do a corner in a group show or a whole house, anything in between. The things in the space that you’re looking at will be videos and photos on display with the props that are already styled, so it’ll be this sensory experience where everything you look at triggers this happiness. Or this melancholy longing that’s really sweet with nostalgia involved. It’s meant to be part museum for like, these things—you go up to them and you’re happy, you know? This so far is just a very light version, like one percent of the 'trigger points', if you will."
By the time you read this, Kimi will already be in LA flooding her Polaroid with the kind of natural light we can barely remember here in NYC, and whipping up the next few chapters of Tan Camera. She's planning on touching down wherever work and artistic opportunities arise—and anyplace that gives good palette, like Miami. Wherever she roams, you can be sure she'll be posting goodies for the Tan Camera squad along the way.
But at this moment, we're still in her studio in Brooklyn with snow on the ground outside. She asks if we're familiar with Sophia Grace, the 11-year old tiara-wearing viral rap sensation and girl-friendship anthemist. Incredulous that we haven't yet seen the video for "Best Friends", she breaks into a grin and pauses the Jem dvd to find Sophia Grace on Youtube. As the light outside fades, we bask in the soft Youtube glow of Sophia Grace jumping on the bed with a posse of girlfriends and trying on clothes while rapping with conviction about how boys are unnecessary. Kimi cackles with the delight of someone who's watched the video a million times, pleased to share the trigger. The girls' realm onscreen illuminates the girl's realm IRL, and it's a fitting sunset on the last moments of Tan Camera in Brooklyn.
All photography by Chris Wegman except where noted.
It was hard to keep it a secret that JD and I wrote a song with Pussy Riot for House of Cards and went to Baltimore to perform it on top of a car at a street protest "in front of the White House" but we did. Now you can see us (a little bit) in the end credits of Episode 3 in the new season. I wrote about the experience for Art in America (March issue) or read it online here!
Here's a scan of my t-shirt. #STOPPETROV
Ready or not, the New Museum's Triennial is upon us, enveloping downtown with its signature heady mix of art-world intrigue and tension.
Competition. Inclusion anxiety. Exposure. Pageantry. Who invented "bi's slash tri's" anyway?
On the eve of the New Museum's 2015 Triennial exhibition, Surround Audience, thank Goddess we have Casey Jane Ellison to break down what it all means in this episode of her all-female art talk show, Touching the Art. After surviving a "moon blood" attack by a disgruntled Pagan artist at Art Basel, Ellison is back in the art game, looking for "a man—or a closeted man—to replace my parents as patrons," and ready to wax inquisitive about the nature of art spectacle and inclusion.
Helping her parse the hot-button issues are fellow participating Triennial artist Juliana Huxtable, art collector extraordinaire and New Museum trustee Shelley Fox Aarons, and in a tough-love-dispensing turn, the artist/ Seagull VIP K8 Hardy, who notes that "to be an artist is incredible downwardly mobile".
Feel your art fatigue recede and let the clarity wash over you as these ladies break down the who, what and whys of Triennial season.
Contributing Editor Molly for SEAGULL
Olaplex is an awesome, new radically game-changing product in the world of professional hair color---or at home. Apparently it's all over Ebay, so whoever wants it can have it.
Honestly, in my 25 years as a colorist and hair stylist, NOTHING like this product has come out and changed the way we handle hair color like Olaplex. Olaplex works in a simple and direct way by repairing, restoring and protecting the disulfide bonds in hair. The disulfide (or sulphur) bonds are the most crucial bonds in terms of keeping the integrity of hair's strength intact. If you wanna read more about the technicalities of hair bonds and chemical interaction check out Hair Science News Volume #3 issue #5 specifically about the bonds in hair.
“She handed me a bag filled with product, and she basically said it would change my life,” says Aura Friedman of Sally Hersberger when Tracey Cunningham (Gwinni, Paltrow, JLo, etc.) handed off a bag full of Olaplex products. (Quote courtesy of our friends over at Refinery29.)
Seagull is super excited to now be offering Olaplex in all three of its forms. Olaplex Bond Multiplier No.1 is used by adding it to lightener or color when doing all over blondes, balayage or highlights. This protects and multiplies the Disulfide bonds as the chemical service is actually taking place.
All of our stylist at seagull salon are using Olaplex. Some of us use Olaplex in every highlights or Balayage formula and some of us use it on a case by case basis. Not everyone needs Olaplex for their colors, blowouts or even as a service, but it never hurts to inquire.
Ok enough. At Seagull we are totally sold. You should be too.
xoShaun SureThing for Seagull Hair Salon.