Uncommon Boundaries, Part 2

If you find yourself chanced with the opportunity for good conversation, at office we recommend dropping the composure. Get weird, because hey, everything else is. So, to inaugurate the future of small talk, we gathered some of our favorite artists, models, and all-round icons for a fever-dream interview sesh.

The next time you find yourself at a [Zoom] party making eyes with a babe across the [virtual] bar, hit ‘em with this survey.

Alees, artist

What have you learned about yourself this year?

That my passion for the arts is rooted in craftsmanship not showmanship.

Minimalism or Maximalism?

I’m a hybrid—I don’t need much but I need a lot.

Escapism or Realism?

I dont tend to subscribe to just any reality. I’ll “escape” to my own based on the resonance of what I’m experiencing.

What Icons have influenced your practice/work?

If I had this question a couple years ago I probably would have had a name to offer. But today I see everyone as human.

How do your internal fantasy worlds influence your external reality?

I am always envisioning and expanding my fantasy world until I am able to exist there completely.

If you could choose what animal you’d be reincarnated into, which one and why?

Black Jaguar—ceremonial ties.

How do you make isolation sexy?

By not trying to make isolation sexy. Every individual must do the work, patiently and persistently.

Fuck, marry, kill: Anthony Fauci, Azealia Banks, Martha Stewart.

Marry Azealia and let Martha handle Anthony.

Who is your mortal enemy?

I don’t know anyone with the power to be.

Influencers: love ‘em or hate ‘em?

Love them—normalizing entrepreneurship.

If you could be a sex toy, which one would you be?

Double sided ding dong.

Elisa Malavasi, model

Coral, model/artist

What have you learned about yourself this year?

Identity. I am nonbinary. That was a huge one, learning and understanding my identity truly transpired into much more. Personally, I believe identity is sacred. It’s one of those things we as individuals have that we can hold as 100% our own. I learned I like being loud, I actually fucking love being aggressively present. Being called "it" as an insult due to my "confusing" fluidity. Having "too much" shoved in my face. I learned you can transform an insult into what makes you so fucking beautifully YOURSELF. I learned those two things: identity & taking up space. They're lovers in the emotional plane. I hooked them up together and they have been in love with each other since the first kiss.

What do you do?

23 years on this Earth and all I do is fight and smoke cigarettes. As far as for keeping my lights on, I started modeling two years ago. In the beginning, I most definitely did not take it seriously. It was fun, but I never fully believed the world was ready for me. I fought for my peace and existence living in a small east Texas town who refused to accept me or my self expression for years. I got signed as a model last year, but there is absolutely no rest for the wicked. I fight hard for my place in the world where all eyes are on you and a lot of brands choose who doesn't "belong." I fight for the outcasts within the outcasts. I am a body modification artist. I fight for people's right to express themselves. I write. I paint. I create. I cry. I scream. Some will say, "I am effortlessly That Bitch." I respect and love that. However, I fight to be That Bitch every single day not only for a check but to be truly alive.

Minimalism or Maximalism?

MAXIMALISM. I want people to experience all five senses of me. Maybe not taste, we're in a pandemic after all.

Escapism or realism?

Escapism. I often fight between the two because I adore the fact that you can flirt with fantasy... oftentimes it can get you in trouble when you are in a relationship with reality. It works better if you can maintain a polyamorous approach. At least I've heard, I haven't asked if they'd be into that yet.. fingers crossed!

What icons have influenced your practice/work ?

Icons to me range everywhere on the spectrum of bad bitch. The fab homeless woman I see next to the train station everyday who never repeats a look or allows her misfortunes to define her fierceness.. or her sharp ass lip liner. The fourteen year old kid wearing perfectly blended eyeshadow and tight jeans walking a 5 foot distance from their homophobic parents, ashamed of their talented child that should be wearing a football uniform instead. The shy group of alternative girls who don't think they aren't "Goth Gf" material because the illusion of followers clouds their confidence and worth. The black girl wearing her 4c pattern crown accompanied with vividly bright clothes and makeup just to the bodega. My accepting father, the black sheep of 12 heavily-baptist children who will steam his satin button-downs and pleat his pants perfectly while blasting Metallica just for a beer run trip to Walmart. My crazy ass mother, the hippie free-spirit surf instructor who allowed me to be whatever I wanted to be, which got me bullied, but also gave me the rage I have today to fight back. My otherworldly partner, who wears their non-gender conforming expression as royal, tattooed regalia. All of these people, these actual people who think they aren't seen, those are icons. They influence my work because when I look at them, they are a reflection of myself. I was the fab homeless woman 2 years ago, sleeping in our Kia Soul, but I damn sure had eyeliner to my edges each day. I was the gay kid who did have supportive parents but did have pure Hell and judgement everywhere else. I am those shy girls who still struggle with self-worth. I am the black person who is proud of their skin, proud of not following stereotypes. I am my extra ass father and my bad ass mother. I am my partner who stands solid in who I am. In this digital world, we as humans create and control our stage/spotlight. With that, we create anything. We are honestly, truly, all icons. Heroes, muses, famous, etc.

How do your internal fantasy worlds influence your external reality?

So, the throuple I got going on with fantasy, reality, and myself is actually going well. Growing up an only child, my imagination has always been a huge part of my brain and my life. In another sense, I perceive this really as manifestations. My internal fantasies are my manifestations and my external reality my personal successes.

If you could choose what animal you’d be reincarnated into, which one and why?

I have always been and forever will be completely captivated by dolphins. Not only are they one of the animals that display homosexual behaviors, but they also have sex for fun not just the sole purpose of reproduction. They also choose lifelong partners and I mean who the fuck just doesn't get happy seeing a cute ass dolphin? Ironically, my name being Coral, I do love the ocean with all of my heart. If I could travel the seas with my gay dolphin life partner in the next life, I would be content as fuck.

How do you make isolation sexy?

Usually, isolation isn't really viewed as sexy. Just like pretty much everything else, sexiness is perceptive. We really do need to be completely alone sometimes and find ourselves. A big part of self discovery is what makes each of us feel hot. Taking really good nudes, learning which angles you feel most comfortable. Exploring which porn categories you didn't know existed and actually like. Especially the golden ticket to lifelong pleasure palace: Masturbation. Toys. Adding a finger or even not any at all, self-sex is damn near limitless.

Fuck, marry, kill: Anthony Fauci, Azealia Banks, Martha Stewart?

Kill Anthony for obvious reasons. Fuck Azealia Banks for honest feedback. Marry Martha Stewart, unfortunately.

Who is your mortal enemy?

Anyone who confidently says the word, "Jorts."

Influencers: love ‘em or hate ‘em?

OR? I love the community influencers create, I hate when it becomes robotic if you know what I mean.

If you could be a sex toy, which one would you be?

A Rabbit vibrator. Not really for any deep reason, they're just my favorite.

Horse Tranquilizers: Yay or Neighhhhhhh?

LOL...... Ketamine???????

Jessika, model

What have you learned about yourself this year?

Ahhhh, too much. I learned that I overthink absolutely everything, I'm terrified of people and that I have a lot of work to do. Childhood trauma and 'shadow work' are new concepts to me that I'm beginning to understand. I have learned not to take everything so seriously and also how to control my wild tendencies…

What do you do?

I post naked pictures online. And occasionally make films.

Minimalism or Maximalism?

MAXIMALISM.

Escapism or realism?

Escapism or can't relate.

What icons have influenced your practice/work?

My mother Monibelle is the most talented artist I know... I learned everything from her. David Lynch, my ex-boyfriend & John Galliano at Dior.

How do your internal fantasy worlds influence your external reality?

It's more than influence, they seep through into my reality so much that sometimes I find it hard to tell the difference. I like to think I'm telepathic and can control radio waves for example. Even though I know it can't be real…

If you could choose what animal you’d be reincarnated into, which one and why?

A cat. I believe they live on a higher plane.

How do you make isolation sexy?

I am OBSESSED with lingerie so I enjoy dressing up, listening to Iggy Pop and old blues music, and film myself doing strip teases.

Fuck, marry, kill: Anthony Fauci, Azealia Banks, Martha Stewart.

Fuck Azealia, marry Martha Stewart (?), kill Anthony Fauci because I just heard of him…

Who is your mortal enemy?

Myself.

Influencers: love ‘em or hate ‘em?

Boring, but not to be trusted.

If you could be a sex toy, which one would you be?

A horse tail butt plug, so CUTE.

Horse Tranquilizers: Yay or Neighhhhhhh?

Neighh for me.

Culture

Alain Levitt’s Time Capsule of Early Aughts NYC (2000-2005)

Amanda Lepore, Alain Levitt

Beyond the exhibition, Alain’s book of the same name, available May 1st, acts as a time capsule, a snapshot of what he and his friends were getting into back then — figuring their lives out, meeting people, making memories and now, reminiscing on what was. Today, walking through Dimes Square where his and his wife’s restaurant Bacaro has become a premiere meeting hub for this generation’s youth, Alain recognizes that while “it’s such a different world,” youth is still the same.

“Young people are young people, man. It’s different being older and not really understanding what’s going on. I don’t fully feel like I’m part of it in the same way… but I love it and it seems the same, but one thing I see is it’s more colorful, it’s animated, and everything seems kind of to an extreme that I really love.”

When Bacaro first opened in 2007, there was no Dimes Square. He likens the emergence of the neighborhood to “the beginning of Williamsburg when that kind of popped off and all of a sudden, if you went down Bedford, it was just young people everywhere and everybody was dressing outrageous.” Back then, congregating in Bedford symbolized a communal rejection of Manhattan. What Levitt witnesses in Dimes, a neighborhood that’s become a bit polarizing amongst New Yorkers, is “more or less the same thing” —though the object of its rejection seems yet to be defined.

Perhaps it’s more of an acceptance — of indulgence, of nonchalance, of living in the past, bringing into now what people think New York has always been.

left to right - Ryan McGinley, Dan Colen, Kenji Ukigaya, Dash Snow

When Alain moved out here in the ‘90s, his older sister Danielle gave him a camera. At that time, he didn’t consider himself a photographer. He was just a younger brother emulating his older sister, who was shooting street photography and fashion parties for the Post. Alain recalls “showing up to Max Fish and being gently made fun of for his oversized Paparazzi rig.” For his second job, Alain was working as a bar-back at The Cock and The Fat Cock (now known as The Hole), giving him “a front row seat to a wild NY that was quickly being choked out by Mayor Giuliani.”

On one of his first nights, he was assigned to the back room at The Cock, where patrons would do whatever drunk people do in the dark. As a kid “brand new to New York” flashing a light on people,he realized that suddenly, his life was completely different. And it was exciting. “I made more money than I could have ever imagined. I was working minimum wage jobs coming from LA, at movie theaters and all this other shit. In NY, I was able to live off two days a week which gave me room to do everything.”

Eventually, Alain started shooting for Nylon, PAPER, V Magazine, and other publications on his days off. Though they didn’t fully feel like a part of that world, he and his friends (skaters, graffiti artists, ravers, the trifecta of 90’s subcultures) somewhat disrupted the fabric of the fashion scene. Reminiscing on some of those moments, he tells us, “Our group would show up at the fashion parties and make our presence known, even though they probably didn’t think we belonged there, that maybe we hadn’t earned it yet.”

left to right - Ryan McGinley, Chloë Sevigny

Alain quickly found his community on the LES, “Alife by day, Max Fish at night,” and “after starting a bi weekly party, with Spencer Sweeny, at The Hole, Alain planted his seed in the downtown scene.” The world that Levitt found himself navigating in his early years in New York City wasn’t new, it was itself a continuation of the pseudo-renaissance that emerged downtown in the ‘60s. “It’s almost like a 10-year cycle. One good thing about New York is that it lets you be young a little longer. We were coming out here thinking about the CBGB’s era.”

And when looking through Alain’s photos, while humming with an inherent sense of nostalgia, it feels as if these images could’ve been taken yesterday. Skateboarding, bands playing one-off shows in dingy music venues, gallery openings that pour out onto the block, it’s all still here, just slightly different. While the internet has made us more connected, and distractions more frequent, much of what was, still is. And for Alain, there’s an innate resilience to this culture of “youth”, a culture somehow driven by a shared dysfunction. “Living in New York is so hard, rents are high, the weather is hard. It can be amazing but you have to put up with all this other bullshit to get the best out of it. You have to be willing to suffer. The people that I knew and the people that I connected to and was around — there was always a certain amount of fucked-up-ness we all shared.”

The people that I knew and the people that I connected to and was around — there was always a certain amount of fucked-up-ness we all shared.

Whether seeking self-discovery in New York City, escaping a toxic family, or generally curious to explore the city’s essence, people here find their own way, often forming surrogate families along the way. Levitt’s book, and the photographs on display at WHAAM! exemplify that family isn’t always clean-cut and you might bond with a person you’d least expect to: on the train, at a bar, laying on the grass at Seward Park, skating at Tompkins, or having a plate of squid ink pasta at Bacaro before heading to Le Dive for some overpriced house wine.

In the most ordinary of moments, the greatest ideas and connections spring to life and this was true even then. “I imagine creativity drives a lot of this,” Levitt says. “There’s a thread that we saw and maybe even idealized New York City to be.” It’s a thread that this generation hasn’t seemed to let go of: “I feel like my book shows our moment of coming into ourselves and now the kids today are doing it themselves. In 20 years, there’ll be a record of their time that the next group of kids will be looking at. It might not be the same, but the roots are.”

From Tim Barber, a former photo editor at Vice who edited the book, to Jesse Pearson, former EIC at Vice, Su Barber (Tim’s sister), Mike Piscitelli from Fucking Awesome and skateboarder Jason Dill, everyone involved in the book “from the editors down to the publisher was there in our circle, and pretty much all in the book too.” To Alain, everyone in the book was of equal significance, whether celebrity Chloe Sevigny to Marc Razo, the bartender at Max Fish, who Alain describes as “a loving, wonderful person who’s been in the downtown scene forever.”

“Some of those people have definitely become legendary, which is awesome,” says Levitt.“But with them, it’s like me, I felt special to be there. I wanted to be with these people and we all had all of these lofty ideas of ourselves that were shattered over time. I think it’s good to break through those delusions of grandeur and get a real sense of what the world is. But at that moment, it was pure. We all thought we were special.” And maybe we still do.

NYC 2000-2005 is on viewApril 18 - May 25, 2024 at WHAAM! at 15 Elizabeth St # 113, New York, NY 10013.

Culture

“This is the most cracked-out shit I’ve ever been to”: Inside Harmony Korine's EDGLRD Party at Elsewhere

April 17, 2024

When do Travis Scott fanboys hang out with BDSM gear-wearing leather heads? At Harmony Korine’s Tuesday night party at Elsewhere, where EDGLRD, Korine’s multimedia design collective, screened their latest film, AGGRO DR1FT. It’s an acid-bath wet dream of luxury cars, gore, and strippers in chain mail — a Miami take on the classic Korine narrative. The film says it best: “There is magic in this brutality. I am mesmerized by it. Right in front of my eyes, we are turning into animals.” With the film’s minute-long beheading scene and a confused Travis Scott asking, “Julius Caesar wrote the Bible?” we were primed to party with that same “magic brutality.”

Between the bored strippers, fashion fanatics, and the guy in the booth with AraabMuzik conspicuously rubbing his nose, not an ass was left unshaken. Everyone wanted to be “the belle of the EDGLRD ball” — evident through the girls trying to be the next Korine muse, fancying him a sort of new-age Warhol. Amidst airborne dollar bills and monster masks, all were pleasantly surprised when Korine’s DJ set had that same animalistic feel as AGGRO DR1FT. A guest's sprained ankle serves as a testament to the fact that Korine’s DJing goes as hard as his filmmaking.

Words Izzy Capulong
Photos Liv Solomon

We got some input from partygoers — some anonymous, some less so.

Anonymous — The film was like a three-hour-long trailer for GTA 6.

Anonymous 2 — We’ll call tonight, “Harmony Korine’s goon cave.”

Aidan — I came here kind of old-new to New York, and I haven’t lived here in eight years, but I’m here again and this is the most cracked-out shit I’ve ever been to.

office — In a good way or a bad way?

Aidan — Always good.

Claire — It’s a rare evening that you find yourself the perfect amount of drunk to be in the space that you’re in, but I happened to experience that tonight, so for me, it’s pure Nirvana. But they stopped playing All Star mid-song. That was upsetting. But at one point in the evening, a rogue, brave woman got herself on stage and took her titties out.

Girl with her tits out — This is the future of cinema.

Tyler — The last time I partied at Elsewhere was 2018. Harmony Korine brought New York back.

Culture

The Mouse That Roars: RenBen 2024

April 16, 2024

“How can we be better as opposed to being bigger?” asks Nancy Lerner in her opening remarks at the 2024 RenBen. In an intimate gathering of 300 people, the Renaissance Society hosted their annual gala in Chicago’s Church of the Epiphany, giving creative directorial freedom to NYC artist Kevin Beasley. Pioneering a new model of arts fundraising, the Ren recently eliminated the auction element from their gala structure — a move befitting of their name; “renaissance” quite literally translates to “rebirth.” Valuing curatorial intimacy and artistic integrity, the Ren proves that bigger isn’t always better. James Rondeau, director of the Art Institute of Chicago, once called the Ren “the mouse that roars.” With performances by L’Rain and Beasley himself, roaring is one way to put it. Everyone was there — Chicago old money, New York new media, and artists who broke out into a single verse of Happy Birthday. Renditions of the “Sunday Best” dress code were on display — a few evening gowns, a few Thom Browne suits, and at least one pair of jorts. “This is Chicago’s Met Gala,” said one guest.

By Izzy Capulong
Photography courtesy of Elizabeth de la Piedra

Is it frivolous to dedicate art in periods of war? It’s a question that seems increasingly relevant — should the appreciation of beauty take a backseat to the fight for freedom? Not necessarily. Current director and chief curator at the Ren, Myriam Ben Salah drew on critic Margo Jefferson’s claim that deems art a necessity in periods of turmoil “because history cannot exist without the discipline of imagination.”

View scenes from the night below.