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Plus que 5 semaines pour découvrir BEYOND THE STREETS PARIS ‼️

3 600 m² d’installations, de nouvelles commandes artistiques, d’œuvres historiques, d’éphéméra, de mode et d’archives rares réunissant plus de 100 artistes. Une exposition à ne pas manquer !

📍Grande Halle de la Villette, Paris
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Grateful for a holiday that keeps on giving… Lunch at @maripolarama. 
 
Long and leisurely (clocked in at around 4.5 hours). And not only with this legend of a host and friend. So, too, our tablemates: curator-artist @bowmanstudio and, in from New York, artist @brigitte_engler and troublemaker-editor-writer @davidreporting.
 
Come to think it, the entire lot of us are troublemakers.
 
Maripol is a dynamo of endless talents, and we got to savor many of them Saturday afternoon—from her Polaroids and poetry; her recorded spoken word (via her iphone, pictured) and record collection; and art, books and objects amassed over a lifetime of incredible adventures around the world. 

Adventures along with anecdotes spilled with the bubbly. The host fed us deliciously, too, from a crab salad to lamb chops. I brought one of Nina’s granny apple pies.
 
Just a perfect day. 
And I’m a lucky so-and-so. 

#withfriendslikethese 
#maripol 
#lavieenrose
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A couple of years ago, @momentnyc hosted a beautiful retrospective on Giant Step, looking back at the early days (1990–1995) and how the club helped shape NYC and global music culture.
The event took place at @sobsnyc, where it all started — full circle! I was honored to be part of a panel hosted by David Hershkovits, with Erica Lee, our first-ever employee and early spark behind Giant Step, and DJ Smash, whose sound helped define those nights.
Such an inspiring moment to relive that energy, creativity, and connection.
✨ Enjoy!
#GiantStep #MomentNYC #SOBsNYC #NYCMusic #ClubCulture #90sVibes #MusicHistory #NYCNightlife #GlobalGroove #CulturalLegacy #DJLife #MusicCommunity #Throwback #HouseMusic #JazzFusion
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DREAMSCAPE -  72” X 48”- “triptych” on reclaimed canvas : Circa: 1991-92  No Serial # - Property of the Conlon estate.  I haven’t been able make new work this year due to health reasons.  So as I find myself back in my childhood home surrounded by old work I did 25+ years ago I figured I’d share a walk down memory lane.  This is one of the first paintings dates back to college when I was broke and couldn’t afford canvas. So I got a fox in the hen house idea to raid the painting studios drying racks after the semester was done to “repurpose” canvas that were left behind.  It was usually abandoned sorority girl painting 101 work that would more then likely get tossed.  They bought really nice canvas by the way, only to be remember as a “remembered as that time we took a painting class in college Becky” story.  At least that’s how I justified any backlash or guilt at the time.  This is probably why I am attracted to repurposing vynil today.  The overall composition was based on a reoccurring dream or nightmare that I was having at the time of me being on a run away roller coaster that crashes into a brick wall that I’d always survived.  My color palate  for this piece was black and white because the belief was that people dreamt in black and white. This color theory has carried thru until today.  Simple and direct.  In these early years I was working with the idea of multiplicity, positioning things and objects that wouldn’t necessarily make sense together.  A type of surrealism I suppose.  I was also grappling with “draw painting” because I knew I could draw but didn’t think I could paint in the traditional sense.  I was heavily influenced by #kiethharing and #jeanmichelbasquiat growing up in New York.  You can see it in how I was using vailing, imposto, and letting drips happen to give it a painting feel.  This is still one of my favorite paintings because it uses all of the ideas in one piece.  #usc
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