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10 Corso Como Gallery and Fondazione Sozzani present Tony Viramontes: bold, beautiful and damned, an overview of Viramontes’ iconic fashion illustrations, mixed media collages, and photographs from the 1980s curated by fashion journalist Dean Rhys Morgan. The exhibition is on view from September 8th through November 10th, 2019.

 

When Tony Viramontes’ work appeared in the late 1970s, it was very different from the work of his contemporaries. “Tony was the enfant terrible of fashion illustration. His strong and direct drawing style was a marked contrast to the whispered, pastelly, WASPy visuals of the time,” Rhys Morgan says. “There was an insolence about his women. They were very hard and aggressive. Casting was very important to him. The last thing he wanted was a pretty face and a standard set of measurements.”

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The Fondazione Sozzani presents for the first time in Italy the exhibition "Silver Lake Drive", in which Alex Prager unites ten years of her photographic and film works.
The exhibition is curated by Nathalie Herschdorfer, director of the Musée des beaux-arts Le Locle, Switzerland.

Prager’s work is cinematic, drawing inspiration from her surroundings, personal experiences, street photography, pop culture and film. She utilizes a range of style elements reminiscent of early film genres such as film noir, thriller, melodrama and crime fiction. Women have frequently been the protagonist in Prager’s work, driven by emotion. Through the use of saturated colours and familiar imagery, Prager is able to create her own unique world where she explores darker topics in a seductive and unsettling way.

Prager’s work is rooted in the photographic tradition of William Eggleston, Diane Arbus and Cindy Sherman, each of whom mastered the art of freezing the indeterminable everyday moment. Prager’s oeuvre consists of heavily staged, large format images using rich colours. Her photographs can be seen as ‘single frame narratives’ that capture enigmatic stories within the edges of the frame. Both her photographs and films are characterised by the absence of a linear narrative.

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At the heart of Kris Ruhs’ work, there is an absolute necessity that we be engaged in his process.  As Ruhs himself has observed, “I work from my work”. And here, in his latest personal exploration, Creation Language, the three-dimensional pieces are themselves a presence, an essence, the physical residue of a past into which we must enter if we are to fully experience it.

 

By first passing through a 9 ft entrance into a space 15x30 ft wide and 9ft high. With oil painted paper and metal "canvases" hung on all the surrounding walls, the impact of the images create a visual cacophony. Once inside we enter through another canvas 9x 9ft. And then into a 30x15 ft elliptical light wall composed of a multitude of seemingly transparent three-dimensional elements in oil painted paper.

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