Selah Marley Pops Into BKLYN Studios May 3-4, 2019 With 'A Primordial Place'

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Selah Marley opens an art quickie ‘A Primordial Place’ , on view at BKLYN Studios In New York City from May 3rd until May 4th, noon to 8pm. BKLYN Studios is located at 445 Albee Square West, Brooklyn NY 11201 in Citypoint.

The daughter of Lauryn Hill and father Rohan Marley, and granddaughter of Bob Marley, Selah pronounces her name ‘C’est la’. No, it’s not referencing French but rather “meditation pause”.

Marley’s show is a one-of-a-kind immersive experience which explores the collective conscience of Marley’s 19-year-old mind. The show explores how one can surround themselves with nature and greenery in a hard-rock concrete jungle like New York City.

Frida Kahlo Has A New York Moment With New York's Spring Style Issue + Brooklyn Museum Show

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Illustrator Malika Favre’s latest project is the cover art for The New Yorker’s Spring Style Issue, and it’s a beauty. For Frida Kahlo lovers, Favre’s references are unconsciously obvious in ‘Spring to Mind’, her seventh cover for the magazine. Interviewed by Françoise Mouly, Favre explains how her minimalist style exploded into an effusion of color and floral shapes.

The inspiration was Frida Kahlo’s iconic look. I wanted to retain the energy and vibrancy of her paintings and the strength of the woman herself, hence the looser strokes and the explosion of color. This cover may be flamboyant, and it does use organic shapes, but it’s still in tune with my aesthetic approach. My work has a lot to do with colors and shapes, and this piece is another way to experiment with combining those things.

One of Favre’s early sketches for the cover, and her snapshot of a market in Mexico City. Malika Favre

One of Favre’s early sketches for the cover, and her snapshot of a market in Mexico City. Malika Favre

The use of Frida Kahlo inspiration for the New Yorker also relates to a new exhibition at the Brooklyn Museum. The show is not a major exhibition of Kahlo’s paintings with only 11 out of more than 350 objects. Rather ‘Frida Kahlo: Appearances Can Be Deceiving,” is a recapitulation of her life through personal possessions — her clothing, jewelry and favorite objects. The selection of the rich skirts and blouses from the Oaxacan city of Tehuantepec and her statement jewelry that were so key to Kahlo’s substantative style are intrinsically embedded in her art.

Writing for The New York Times, Jason Farago reminds us in Frida Kahlo’s Home Is Still Unlocking Secrets, 50 Years Later: “Hard to imagine she once worked in shadow; when she had her first New York exhibition, in 1938, Vogue preferred to name her “Madame Diego Rivera.”’

“Frida Kahlo, 1939,” Nickolas Muray, © Nickolas Muray Photo Archives

“Frida Kahlo, 1939,” Nickolas Muray, © Nickolas Muray Photo Archives

Diane von Furstenberg + Painter Ashley Longshore Unveil 37 Large-Scale Portraits Of Extraordinary Women

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Many younger fashionistas might not know that designer Diane Von Furstenberg has a long history as a feminist supporting women’s rights, feminist activism and women’s-focus philanthropy + small business development. In honor of women’s history month, the creator of the wrap-dress is bringing her feminist credentials to her D.V.F. flagship store in lower Manhattan, in a major art collab with Ashley Longshore.

Unveiled in time for International Women’s Day on Friday March 8th, DVF and Longshore, a 43-year-old Alabama native who is currently based in New Orleans, have created 37 large-scale portraits, intended to celebrate extraordinary women. Ruth Bader Ginsburg, Michelle Obama, and Gloria Steinem.  The entire show will reside in Von Furstenberg’s Washington Street store through May.

In 2018 Longshore was the first female artist to exhibit at Bergdorf Goodman. Known for vibrant, embellished paintings that reference pop culture, writes Vanity Fair.

“To me, color is just so comforting, it makes me feel alive,” she said of her creative process in a recent interview. “I love that playfulness, I’m drawn to that like a moth to a flame.” 

When Von Furstenberg explained her concept for the new installation, Longshore said, “She was talking to me about my work and telling me [her] idea about powerful women, fearless women, and I said, ‘Look Diane, I am so in on this. I’ll work myself to death for you for this.’” According to Longshore, von Furstenberg’s did request that the portraits be created without the artist’s signature bedazzle, glitter, and resin. In this situation, DVF felt that these memorable women subjects of great influence and inspiration should stand alone.