A fashion designer’s first home collection pays homage to Haiti and New York

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For many people, the intermittent isolation imposed by the pandemic has produced a crisis of self-presentation: what should I wear now? How do I want to be seen? Artist Geoffrey Chadsey’s new exhibition at Jack Shainman tackles this conundrum head-on in a series of larger-than-life portraits done in watercolor pencil, though his exploration of these questions has spanned decades. His latest subjects are composites caught between identities: a black man in a cowboy hat with extra-white limbs, an androgynous figure in a bold red suit pushing his chest into the cleavage, John F. Kennedy in football leggings . “The drawings are kind of about photography,” Chadsey says, “how men project a sense of self through online self-portraiture. And then I love when I can recombine them and accidents happen. He constructs his sketches in Photoshop using found material, from magazines to archival medical photos to snapshots, before drafting each figure on mylar or gluing old drawings together. The fluidity of his process and materials reflects the slipperiness of the subjects themselves, which the artist jokingly compares to paper dolls. “There’s something about that frontal image,” Chadsey says, “that solitary figure projecting a self into the world. There is a desire for commitment that the viewer is a bit uncertain about whether they want to grasp it or not. “Plus” is on view until June 18 jackshainman.com.


“The more I travel, the more I return to the same types of restaurants: iconic steakhouses,” says Canadian chef Matty Matheson. The boisterous culinary personality, who made a name for himself on Viceland and YouTube teaching the public how to baste steaks or go duck hunting, learned to cook in Toronto’s French bistros and co-owns four restaurants in Ontario. His latest, Prime Seafood Palace, is inspired in part by old-school stalwarts like New York’s Peter Luger and a childhood love for Canadian chain The Keg, but there are no leather booths. red or dark panels in sight: instead, Matheson commissioned dynamic architect Omar Gandhi to build an airy wooden cathedral on Toronto’s bustling Queens Street West. A slatted ceiling of locally sourced white maple curves to meet vertical brass screens, giving the impression of being nestled inside an arch (or perhaps a very luxurious lobster trap) . Custom peach-colored leather booths from Coolican & Company, circular tables with hidden drawers that hold gleaming Percival steak knives until the doorman arrives from the open kitchen. There, Atlantic seafood, Ontario beef and produce from Blue Goose Farm in Matheson near Lake Erie are cooked over cherry charcoal. He recognizes that the stylish environment is next level since his early days as a star of the goofball screen. “It’s a juxtaposition between what people perceive me to be and what they’re going to get into,” Matheson says. “I’m 40 now and Prime Seafood Palace is a very mature, beautiful and caring restaurant.” primeseafoodpalace.ca


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SoHo-based bag brand MZ Wallace has collaborated for more than a decade with renowned artists such as Raymond Pettibon, Kerry James Marshall, Njideka Akunyili Crosby and Glenn Ligon. Next is Nick Cave, the Chicago-based artist known for creating kinetic Soundsuits that marry sculpture with performance art. “These designs aren’t just reproductions of my work on fabric,” Cave explains of the exuberant flowers, sequins and buttons printed on the bag’s recycled fabric, “they’re clips of images, remixed like a DJ might explore the sound”. The slogan on the strap – “Truth Be Told” – is from the artist’s 2020 public artwork, first installed in Kinderhook, NY, which featured the phrase in stretched black vinyl letters across a 160 front feet in response to the murder of George Floyd. The bag was launched in conjunction with Cave’s retrospective, which opened this month at the Museum of Contemporary Art Chicago, and proceeds from its sales benefit the museum’s educational programs, as well as the Facility Foundation, a non-profit organization run by Cave and his partner and collaborator. , Bob Faust, which provides scholarships and opportunities for emerging artists. $325, mzwallace.com and at the MCA Chicago store. “Nick Cave: Forothermore,” is on view until October 2 at MCA Chicago.


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For his first foray into interiors, Haitian American fashion designer Victor Glemaud turned to his own New York home and the memorabilia that tell his story, including an image of himself at the age of a year old, wearing a short mint green ensemble and white boots, cutting into her first birthday cake. “This photo is a reflection of my essence, and this collection was an opportunity to bring that essence to life in a new way,” says Glemaud, known for his knits in cheerful shades of neon pink or lime green. It partnered with the prestigious design house Schumacher for the line of fabrics, wallcoverings and trims, called Cul-De-Sac by Victor Glemaud, and the 14 patterns, each rendered in up to four bold but balanced, pay homage to his Haitian. New York heritage and roots. A print called Toussaint Toile champions Haiti’s liberator, Toussaint L’Ouverture, alongside lush palm leaves and hibiscus flowers, while Virginia Panel is a signature 1970s geometric style, with curved stripes in black and white. Many prints are named after powerful women in Glemaud’s life, such as La Fabienne, a tropical floral in dark red or pale lilac. Together, the patterns are proof – and the materials – of a colorful life. From $300, fschumacher.com.

Walking south on Elizabeth Street, just above Canal, you will find a discreet message on a brick wall that says 2+2=8. A painting by Detroit-based Tyree Guyton is a kind of introduction to a nearby installation: Inside a small glass storefront operated by Martos Gallery, Guyton’s dealer, white walls are painted with clocks ( one of the artist’s recurring symbols), and in front of a table covered in rubbish like an old TV, a tea set and a rusty piece of metal, a group of dirty mannequins sit like they’re a family having dinner in full view of the traffic coming from the nearby Manhattan Bridge. For much of his career, which began in the 1980s, Guyton showed his work on a stretch of Heidelberg Street in Detroit, where he grew up. As manufacturing work dwindled and the neighborhood fell into disrepair, Guyton began an unorthodox act of preservation, turning the area into a popular open-air museum by filling vacant lots with sculptures and paintings made from relics. abandoned: stuffed animals, broken sneakers, car hoods, broken vacuum cleaners. This little New York spectacle reveals Guyton both transcending and perpetuating the legend of Heidelberg, and solidifying 2+2=8 as an artistic treatise. If you look closely enough, anything – whether it’s the block you grew up on or a busy New York street corner – can be a place of beauty and reflection. “The Heidelberg Project, New York City” can be viewed 24 hours a day, indefinitely, at Martos After Dark, 167 Canal Street, martosgallery.com.


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