Elephant Docks is an online store, producing a range of limited editon, screen-printed wooden iPad mini and iPad docks.

The docks are beautifully made out of birch plywood with a walnut veneer and with a base made from pressed cork. All materials are sourced in UK as well as produced there.

There is a range of docks you can chose from on their website, but the store will soon be offering a fully bespoke option, where you will be able to download the template and apply your own design, and they will print it for you.

Make your iPad unique and order your favourite dock today.

elephantdocks.co.uk

QF Gallery presents photographer Nan Goldin in an intimate exhibition, curated by Carrie Mackin.
The exhibition includes eleven color photographs from the 1980’s to the present. Wish You Were Here reveals the leisurely spirit of the artist’s time at her home in Sag Harbor and her countless summers abroad. Goldin is known for her intensely personal, sexual and confrontational imagery and Wish You Were Here includes a mix of new and iconic photographs of Goldin’s friends, children and other loved ones reveling in the long, sun-filled summer days.

Nan Goldin, considered one of the most important photographers of her generation, has been exhibiting her work in major retrospectives around the world, including the Whitney Museum of American Art, New York and Centre Pompidou, Paris.

Nan Goldin: Wish you were here is on display at QF Gallery, 98 Newtown Lane, East Hampton, New York from August 3 – 18, 2013

qfgallery.com

London is often regarded as a city full of inspiration, forward-thinking and bound-breaking people when it comes to fashion and style, and in the 1980s it was not an exception. At that time the city was a creative explosion of colors, patterns, styles and unique people walking down the streets.
It was a time when creativity was flowing free by fashion provocateurs such as Vivienne Westwood, Katherine Hamnett and John Galliano, and the club scene’s theatrical style icons – such as Boy George, Adam Ant and Leigh Bowery.

The capital’s vibrant and eclectic club scene was booming in the 80’s and influenced a new generation of designers. At the same time fashion took off and London’s art colleges, such as Central Saint Martins, made London designers famous for their inventiveness and their vibrant fashion began to create a stir internationally.

You can now re-discover this bold and inspirational epoch of London fashion in the 1980s through more than 85 outfits and a range of selected images in an exhibition at the Victoria and Albert Museum.

Club to Catwalk: London Fashion in the 1980s is on display at the Victoria and Albert Museum, Cromwell Road, SW7 2RL, London until February 14, 2014.

vam.co.uk

Originally published as a limited edition tome in 2011, Scot Sothern’s An American Lowlife has now been resurrected in digital form.

The photographer spent five years documenting the lives of street prostitutes in southern California between 1986 and 1990.

Accompanied by Sothern’s confessional texts, the result is a gritty and bleak but at the same time artistic portrait of society’s underbelly.

scotsothern.com

powerhousebooks.com

All images from An American Lowlife by Scot Sothern, published by powerHouse Books.

http://amzn.to/154noyt

The work of Laure Prouvost has caught Twin‘s eye in recent months, perhaps in small part due to the fact that the French artist

is nominated for the 2013 Turner Prize and won the Max Mara Art Prize for Women award.

A CSM and Goldsmiths College graduate, Prouvost’s work has been praised for its atmospheric tones, emphasis on narrative and unique unpredictability, utlising anything from a Kafka novella translation to billboards. Her projects have been exhibited at the likes of Frieze, Tate Britain and Whitechapel Gallery.

Looking for the next big (art) thing? We say look no further.

laureprouvost.com

The contemporary sensibility of the human body marks the subject of the Under My Skin – Nudes in Contemporary Photography exhibition. Curated by artist Mona Kuhn, the show examines the context and visual language of nudity within 21st century fine art.

Artworks include Glen Luchford’s portraits of Jenny Saville, Kim Joon’s body manipulations, Shen Wei’s self portraits and David Dawson’s photographs of Lucian Freud and his painting subjects in the artist’s atelier.

Stop by Flowers Gallery before next Saturday to experience the human body in all its artistic glory.

Under My Skin – Nudes in Contemporary Photography exhibits until July 27 at Flowers Gallery, 529 West 20th Street, New York, 10011.

flowersgallery.com

This week presents a double bill of exhibitions for Miles Aldridge fans. The London photographer’s intensely colour saturated and fantastically glamourous images are now on display as part of the I Only Want You to Love Me and Short Breaths shows, exhibiting at Somerset House and Brancolini Grimaldi respectively.

Twin caught up with the photographer at the opening of his retrospective to talk about childhood memories of the camera, why flaws make a woman beautiful and the age of postmodern photography…

When was the first time you realised that you loved photography?

I went in and out of photography throughout my childhood and teens. My dad gave me a camera when I was about ten. He was an art director and bought a Nikon in the sixties to photograph the Beatles. He gave me this camera I think to kind of get rid of me really; it was a summer holiday and one reason go off and do something. I remember hanging up one of my sister’s doll by the neck and taking a photograph of that, it was quite a cinematic image from the beginning.

But I didn’t pursue photography, because my father was an illustrator I pursued drawing. I went to art school, was determined to be an illustrator and became one. That went quite well but I found it boring. Photography kept coming back into my sphere of experiences. I thought photography would be a way to become a filmmaker, I didn’t intend to stay a photographer. I picked up this camera, that my father had given me, again in my early twenties and started taking pictures. That coincided with a grunge movement in London, which was a really simple route for me to follow.

At that point the idea that you were not a professional fashion photographer was a bonus — it meant that you were authentic. I hadn’t trained or assisted anyone to be a fashion photographer. The real fundamentals of being a fashion photographer are really more the credentials that I had, meaning that I was a guy who had a camera who had a girlfriend that he photographed a lot. In a way that was more authentic than somebody who’d done lots of tests with models.

What I’ve always liked about being a photographer is that it puts a frame around something that you see, whether it’s your girlfriend or a doll hanging by its neck. By putting a frame around it, it becomes a picture. By containing it, you’re able to judge whether its interesting. For example, I don’t think I’d be very good at theatre direction because I don’t like the way the eye is able to rove freely on the stage. Ultimately, I’m not sure if I have the talent for storytelling. I think more my talent lies in presenting frames around images.

How do you see women represented in your images? They are very beautifully stylised but then upon second look there is something cracked underneath that perfect exterior.

I think the women are very beautiful heroes of the picture and in a way, we kind of worship them. They’re to be adored and represent the world that they come from and we live in presently, because that world is not a happy place of contentment. I read the newspapers everyday and it’s unbelievable how bizarre, inhumane and amoral the human animal can be.

I don’t feel comfortable presenting beautiful women as perfect beings. I think about them much more as broken, wounded and beautiful at the same time. Beauty goes hand in hand with being wounded. In movies a heroine who has it all and is successful is not very likable, but if she’s suffered and is a representative of this society that she lives in, then we have empathy with her. When people see the pictures of these goddesses that I make, they’ve all got cracks in them, they’re not immaculate. They represent, not complete unhappiness, but the questioning and troubling nature of our times, which is what I’m after.

That’s also interesting because you say you are inspired by Fellini and Hitchcock, who have very specific types of women in their imagery as well.

Yes, there’s often a mother figure, a girlfriend, a wife. There’s three kind of archetypes and that’s mostly the women I know. My mother is a very strong memory for me. The fact that she died when I was young and then short of vanished, I think for anyone creates a mystery about the mother figure. You’re left with the enigma of what she left behind: her makeup, her clothes in the wardrobe, who is this woman that is gone? To quote Robert Smith from The Cure, ‘Nobody ever knows or loves another’. I think that’s interesting and there’s some truth to that.

How do you see yourself in terms of your work? It would be too simplifying to say it’s just fashion photography, especially now that we are seeing fashion photography as more of an art form.

Luckily I’ve been of a generation where photographers have pushed through. People like Helmut Newton and Richard Avedon had exhibitions, but it’s interesting that Avedon’s exhibitions were about his so-called personal work. I’m coming from a postmodern point of view where I’m taking pictures for a fashion magazines that I know go on a gallery wall, whereas Newton was taking pictures for a fashion magazine only and then they went on a gallery wall.

I’m coming from a much more technical point of view. I know I have to make these pictures work so that they can be enlarged in scale. And again with Avedon, even though he was the greatest living fashion photographer, in order to be taken seriously as an artist he had to do pictures in asylums, things that document. Instead of photographing his beautiful models, he now had to go and photograph the white trash of America. All of that is brilliant work, but when people ask me if I have any personal work, I do have personal work but really this is my personal work.

I’ve probably taken Newton’s and Avedon’s lead in the sense that you document your world as well as the clothes. I’ve probably taken that to a degree beyond where even they had imagined. When I have meetings with Vogue Italia, we don’t talk about clothes at all. We talk about women, ideas about women and what these metaphors and symbols might mean. Fashion magazines have transformed over the last ten years because of the internet, they have less power to dictate to the photographer what they need from them. I think I’ve moved into that vacuum. I present an idea instead of just accepting commissions because of my very lucky relationship with Franca Sozzani. She will give me enough rope to hang myself in that she will let me do what I want to do.

How has your method of working changed since the earliest and most recent pictures in this exhibition?

The earliest picture is from around 2004, so it’s ten years of work more or less, yet it all hangs together as one body. That was the intention quite early on. I wanted the work to have a signature, whether it was in the colour, focus, clarity or in the kind of bittersweet imagery that was being made. I wanted it to be within the same universe yet be as broad as Shakespeare. It’s working on the human condition: those ideas of love, mothering, death, addictions, religion, the relationship between your child and you and vice versa. Everything begins with the human so it’s a small but at the same time huge universe.

I Only Want You to Love Me is on display until 29 September at Somerset House, Strand, WC2R 1LA.

Short Breaths exhibits from 12 July – 28 September at Brancolini Grimaldi, 43-44 Albemarle Street, W1S 4JJ.

somersethouse.org.uk

brancolinigrimaldi.com

Artists Anne Libby, Elise McMahon, and Sophie Stone spent springtime nurturing creative growth and awareness in a small glass box. The group inhabited a steel New York City newsstand and stocked the essentials like umbrellas for the unforgiving rain, bottled H20, crush-worthy lighters, munchies and plenty of reading material. If you haven’t stopped by, grab some boba and unwind at the intersection of Bowery and Canal Street. Petrella’s Imports will close up shop Sunday, June 30th. Twin asked about their blooming future.

How did you ladies all meet?

The three of us met in school at RISD.

 Tell us about conceiving Petrella’s Imports.

 When we thought about newsstands in the age of information, they seemed like odd points of distribution. Thus, Petrella‘s Imports is conceived as a physical outpost in a digital culture, at a time when the originary purpose of the newsstand as ‘source of information’ wanes. Our intention has been to assemble a large number of creative collaborators in order to offer a surrogate to the inventory of items normally found. Like a site, the newsstand is updated daily with new content, much of which threads through the digital realm.

How has your project progressed since?

As a point of distribution within the public space of New York City, the ‘newsstand’ is a form that we continue to be interested in examining and reconstituting. Since opening, we’ve embarked on “Live Stream”, a serial video project at PetrellasImports.com that documents and fictionalizes the newsstand’s reified integration into New York City street life. It’s partially a product of what we see and hear from the newsstand.

Typically, women are not found working in a newsstands. How did this reality influence the success of Petrella’s ?

The operation of a newsstand by women is certainly unique . Taking the broader context of street-facing city spaces, the presence of women is nearly non-existent. We’re interested in altering the expected constitution of these establishments.

Petrella’s Imports is full of riches – the stand is so carefully curated. Who did you collaborate with?

Artists from all over contributed to the collaboration that represents the inventory of the newsstand. The inventory includes artist-made magazines and newspapers as well as postcards, prepackaged food, umbrellas and cigarettes.

You encourage and engage individuals to take part in a dialogue of great social change. What has the overall reaction been like?

All of the contributors have been excited about the idea of a street-facing point of exhibition. It gave a lot of people an opportunity to reposition their work within a different economy for a different audience. We’ve been thrilled with the response from passersby who’ve come across something unusual within the patterns of everyday life.

How did you balance the intimacy of experiencing an artist’s work in a very public environment?

Art consumption in traditional contexts enjoys a slightly longer gestation than the quick, one-minute shopping stop on the sidewalk. We hope to suggest browsing and long-form consumption as a way of realigning public space with something closer to respite or philosophical recalibration.

Did you face any challenges working within the constraints of a uniform glass structure?

The particular structures around the city are recent architectural solutions, more vehicles for advertising than anything else, raking in huge amounts of money for the city. Constraint and economics were a big part of our interest, so working right up next to these civic barriers was important to the project.

Will you continue to work within New York public space? 

We’ve been in touch with a handful of institutions. None have been quite right yet, and we’re considering other public venues that would further contextualise our ends in increasingly trenchant ways. We’re continuing to take on projects that revolve around the intersection of individuals and their physical (and newly metaphysical) landscapes. As the definition of the public realm continues to change, we make blanket assumptions about ‘access’, ‘universality’ and ‘parity’ within spaces like the web. At the same time we can see a constriction, or a streamlining, of said values.

What’s up next for the group?

At the end of July we will have a web project and a show at Suzanne Geiss Company. It’s a gallery with a storefront location on Grand street and represents an opportunity for us to explore alternate definitions of public space, store-fronting and the distribution of information.

A wise woman?

Mierle Laderman Ukeles says many wise things that have informed our own belief system.

petrellasimports.com

Work by artists Gretta Johnson, Laura Hunt, Maria Salas, and PJ Rountree among many others

Inside the newsstand, a continued selection of artist publications and editions

Anne Libby’s I <3 NY plastic bag water bottles and postcards by artists

Elise Mcmahon’s lighters, Maggie Lee’s Suede’s Slick Sad Swirled, Kevin Zucker’s NYC restaurant matchbooks and Eckhaus Latta and K-hole Projects Brad and You deodorant. The door to the newsstand is also exhibition space

Stumped for inspiring weekend plans? Look no further than Meltdown Festival curated by the one and only Yoko Ono.

Kicking off with a concert by Yoko Ono Plastic Band and ending with a live performance of John Lennon and Yoko’s last album Double Fantasy, there’s lots of musicians, artists and events on offer in between.

Catch the likes of  Siouxsie and Julianna Barwick singing their tunes on stage, watch Peaches recreate Ono’s famous performance Cut Piece and pick up your copy of Rough Trade’s latest publication, Let’s Start a Pussy Riot. Alternatively see Kim Gordon and Bill Nace’s experimental project Body/Head in action, take in the poetry and music of Patti Smith or experience a special one-off show with Marianne Faithfull and Bill Frisell.

Meltdown Festival runs from 14-23 June at Southbank Centre, Belvedere Road, SE1 8XX.

meltdown.southbankcentre.co.uk

Judith Bernstein will be talking to curator Sarah McCrory about the art of female rebellion this Thursday.

The American artist, who was a founding member of A.I.R. Gallery (the first gallery devoted to showing female artists), as well as an early member of art activist organisations including Guerilla Girls, Art Workers’ Coalition, and Fight Censorship, will be discussing her four decades of creating controversial work.

The discussion is taking place in the context of the ICA’s new exhibition Keep Your Timber Limber (Works on Paper), which examines artists who have addressed issues such as gender politics, sexuality, feminist issues, war, censorship and race from the 1940s until today.

Judith Bernstein in Conversation with Sarah McCrory takes place on 13 June at 6:45pm, at the Institute of Contemporary Arts, The Mall, SW1Y 5AH.

ica.org.uk

Organic grotesqueness meets 'It' item fetishisation in Andrea Hasler's new solo exhibition.

The Zurich-born artist has recreated iconic handbags and footwear from labels such as Louis Vuitton, Dior and Jimmy Choo in her trademark wax sculptures for her Desire series, and transformed the Gusford Gallery into a boutique filled with organ-like accessories in the process.

Be sure to check out this interesting and tactilesocial commentary on the psychological effects of consumerism.

Burdens of Excess exhibits until August 10 at Gusford Gallery, 7016 Melrose Avenue, Los Angeles, CA 90038.

gusfordgallery.com

Artist and previous interviewee Seana Gavin headed down to the annual arts mecca The Venice Biennale this week. In the following piece, Gavin handpicks her top ten pieces from the event exclusively for Twin…

I am only just recovering from a very full week spent at The Venice Biennale. It is my third time there and its always a great experience, but this year I really connected to the work on a more personal level.

In Il Palazzo Enciclopedico in the main Giardini there was a very obvious spiritual theme, with lots of cosmic, supernatural, scientific and nature over tones which I found really inspiring and relates to some of the subjects in my own art work. Here is some of the work that I especially connected with:

Carl Gustav Jung, ‘The Red Book’ in II Palazzo Enciclopedico

Jung experienced visions, visual fantasies and premonition dreams from a young age. In 1913 he thought he was going insane after having very intense apocalyptic visions, which he soon realised were omens of the horror of 2nd World War. He began to fill notebooks with detailed descriptions of his dreams and visions which then became the ‘The Red Book’. I loved the way the pages from the book were displayed in a round shaped room – it reminded me of a scene from film ‘The Holy Mountain’ by Alejandro Jodorowsky.

Shary Boyle, Canada Pavilion

This was one of my favourite pavilions. The room was blacked out. Inspired by the moon, the only light was a subtle glow highlighting revolving moon-related sculptures. The main piece was a 3D set, containing white figures in a landscape with collage imagery projected on to it. It would flash between the white figures with a moon-like glow and the collage projected version.

Jakub Julian Ziolkowski in II Palazzo Enciclopedico

He created a series of paintings including imaginary beings, hybrid and mythological creatures. I particularly liked ‘The Sleep of Reason’ depicting a bodily and grotesque hellish landscape.

Roger Caillois’ stone collection in Il Palazzo Enciclopedico

He was a poet and theorist heavily involved in the Surrealist movement. He praised how stones appear to depict landscapes and commented on their beautiful patterning. Here his personal, well chosen stone collection was displayed in glass cases. As someone who has collected stones and crystals since I was 5, I really appreciated it and enjoyed examining his collection.

Shinro Ohtake in Il Palazzo Enciclopedico

There is a whole room full of Ohtake’s scrapbooks displayed in cases. They are held open to view random pages of his mixed media collage images responding to mass media and contemporary urban life. I love the layering and looseness of his approach.

Ryan Trecartin, Il Palazzo Enciclopedico

He creates weird uncomfortable alternative realities in video form, inspired by game shows, reality TV and talk shows featuring transgender characters and Spring Break-like American teenagers. The digital effects, bright coloured face paints and exaggerated personas create a strong flavour of a bad acid trip. Here he has collaborated with Lizzie Fitch and other artists to create sets around the viewing space that expands the environments from the videos. You feel as if you are emerged into the films.

Bedwyr Williams, ‘The Starry Messenger’, Wales in Venice

He created a series of rooms relating to the exploration of infinity and minute space. I was blown away by the video piece which took you through a journey like a string of consciousness – going from the details of the granite marble flooring beneath your feet to the galaxy in the sky.

Museo Fortuny

Axel Veervordt curated the exhibition this year in this amazing space. It consisted of Tapies’ personal art collection along with some of his own works. It is so inspiringly put together. Often the architecture becomes part of the work – as with these pieces the crumbly walls where the work is hung seems to fuse into the paintings.

Palazzo Peckham

This space was created by a group of south London based creatives. Artists including Jon Rafman, Rob Chavasse, Samara Scott and Viktor Timofeev were commissioned to create the interior. The palazzo included a bar and an internet lounge and became a hub for Londoners in Venice. Throughout the week they hosted a series of events and served a lot of aperol spritz!

Jeremy Deller, English Magic at the British Pavilion

The whole pavilion contained several works all connecting to British culture and history. One wall showed a display of Neolithic hand axes dating 4,000 BCE all found along the Thames. In a corner of the room there was a stand where you were invited to hold 2 of the axe heads carved from stone while being told the history of the objects made by pre-humans! In another interactive area you could make your own DIY Jeremy Deller print to take home. But equally worth mentioning was the seriously fun after Party which the Brits do so well – which included a spontaneous naked male dancing as the steel band played British classics such as Voodoo Ray.

Words and images by Seana Gavin

labiennale.org

seanagavin.blogspot.co.uk

Tags: Seana Gavin, Venice Biennale

A legendary art event of the past comes back to life in the new When Attitudes Become Form: Bern 1969/Venice 2013 exhibition. Presented by Fondazione Prada and curated by Germano Celant in collaboration with Thomas Demand and Rem Koolhaas, the show reconstructs the legendary Live in Your Head. When Attitudes Become Form exhibit by Harald Szeemann at the Bern Kunsthalle in 1969, which paved a then radical approach to the practice of exhibition curation.

Described as “a literal and radical superposition of spaces that produces new and unexpected relationships between the artworks themselves and between the artworks and the space they occupy”, the exhibition features the work of artists such as Claes Oldenburg, Eva Hesse and Joseph Beuys, as well as original materials from the development of the 1969 show, offering something for both art history buffs and newcomers alike.

ELF, aka the gender equality-campaigning East London Fawcett Group, unveils their contribution to Calvert 22’s exhibition …how is it towards east? today.

For the past year, the organisation has been examining the postion of women within London’s contemporary art scene as part of their Art Audit campaign. Check out their findings at the Calvert 22 gallery now.

…how is it towards east? is on display until June 2 at Calvert 22 gallery, 22 Calvert Avenue, E2 7JP.

calvert22.org

 eastlondonfawcett.org.uk

Tags: Art Audit, Calvert 22, ELF

Richard Kern has been travelling the world to find subjects for his nude portraits as part of VBS’ Shot by Kern series for over seven years. Now the results of his photography sessions has been published for the first time ever.

Shot by Kern features 300 intimate pictures shot by the American photographer on location in countries ranging from Belgium to Sweden to the UK.

The settings and subject may differ, but all images are unified by a certain sense of ease and naturalness inherent to Kern’s aesthetic. View his latest body of work at a bookstore near you.

taschen.com

richardkern.com

Tags: Richard Kern, Taschen

Central Saint Martins boasts a reputation as one of the world's most prestigious art schools. Now a group of its students have launched a biannual print publication celebrating the university's exceptional talents, entitled 1 Granary.

Founded and edited by Olya Kuryshchuk, the debut issue features alumni such as Katie Grand, Robin Derrick, Kate Phelan and John Galliano, as well as the most exciting new talent currently studying at CSM's King's Cross campus.

Twin spoke to associate editor Greg French about the magazine's inception, vision and future. Read on for the exclusive interview…

Central Saint Martins has had a longstanding reputation and legacy. In the age of digital publishing and university spending cuts, what made it important to do this magazine now?

I think it's incredibly important to be able to find a sense of permanent presence alongside digital publishing. There seems to be a constant conflict between digital and print, yet there needs to be more of an understanding that both can support and be used alongside each other to push concepts further than previously possible. It seemed important as it's a new beginning for the college in its new premises. We really wanted something physical to sit alongside our site, as a milestone for this great turning point in the college's history.

What ethos lies at the heart of 1 Granary?

At the heart of magazine are unity and hard w

ork, not only in terms of the amount of work that we put into establishing 1 Granary, but also in the level of craftsmanship that is put into each garment, artwork and editorial content that we show. It's about showcasing all the amazing talent and saying that it is possible and achievable, regardless of what is or isn't happening in the education system or the economy.

How would you describe the process of putting together the debut issue, were there any surprises or directional changes?

It was actually really liberating. I've worked on magazines before, but this was the first thing that wasn't bound to anything. We didn't answer to anyone and that gave us a platform to experiment, try new things and do it completely in the way that we wanted. We have an amazing team and had so much fun putting it all together. It was exhausting at times as we were all juggling internships, jobs and college work, but at the same time it was our way of resting because we loved doing it so much.

What can we expect for Issue No. 2?

It's still very much in its early stages, but the main thing you can expect is a continuing debut of really great, fresh, raw talent and a team that isn't afraid to take risks.

1 Granary Issue #1 is available to pre-order and hits newstands on May 20.

1granary.com

Tags: 1 Granary, Central Saint Martins, John Galliano, Kate Phelan, Katie Grand, Robin Derrick

Putting an artistic spin on the formerly seedy and underground world of bondage, Japanese photographer Nobuyoshi Araki's work has been controversial to say the least.

One of his most well-known bodies of work, Kinbaku, a celebration of the beauty of tight binding, is now on display at the Michael Hoppen gallery in London.

Are his images of tied-up women incredibly misogynistic or breathtakingly beautiful? Make up your mind about the

artist by visiting his solo show today.

Nobuyoshi Araki is on display until June 8 at Michael Hoppen gallery, 3 Jubilee Place, SW3 3TD.

michaelhoppengallery.com

Tags: Nobuyoshi Araki

RCA graduate Anne Hardy is currently displaying her third solo exhibition at the Maureen Paley gallery in east London.

Her sculptural installations thrive on imperfections such as debris-filled floors and pen scribblings on the wall but at the same time present a controlled insight into the work environment of the artist.

Having previously built her sets for the sole purpose of photographing and then destroying them, this show is the fir

st time that Hardy's assemblages stay physically existent for viewers to explore.

Anne Hardy exhibits until 26 May at Maureen Paley at 21 Herald St, E2 6JT.

maureenpaley.com

Tags: Anne Hardy

Somerset House has just announced its latest exhibition in honour of the late fashion and art champion Isabella Blow. The woman who helped launch designers such as Alexander McQueen will be honoured in the retrospective Isabella Blow: Fashion Galore!

The exhibition will showcase over a hundred pieces from Blow’s personal wardrobe, famously saved from being auctioned off by her close friend Daphne Guinness, who purchased the art patron’s entire collection. Expect to see work from designers such as McQueen, Philip Treacy, Hussein Chalayan and Julien Macdonald.

Set designer Shona Heath will be creating installations for the show, which not only offers an opportunity to view extraordinary fashion pieces up close, but also to discover the life of the woman who wore them.

Isabella Blow: Fashion Galore! will run from 20 November to 2 March at Somerset House.

somersethouse.org.uk

Tags: Daphne Guinness, Isabella Blow, Somerset House

Graffiti artist and former Disney animator KAWS has been blurring the boundaries of mass market culture and fine art since the early nineties.

Now the New York-based creative will be offering up his latest solo show Ohhh… at KaiKai Kiki Gallery in Tokyo.

Fuel up on urban energy by checking out KAWS' cartoon-inspired acrylic paintings now.

Ohhh… exhibits from May 2 to 29 at KaiKai Kiki Gallery.

en.gallery-kaikaikiki.com

Tags: KaiKai Kiki Gallery, KAWS