…Like all of us, CNN newscaster Anderson Cooper is a huge fan of the multi-talented artist Issy Wood—he Instagram storied a screenshot of Wood’s new Mark Ronson–assisted single “Disaster / Lucky” and said, “I love @isywod’s music and art!” Hopefully he can pass down one of Wood’s paintings to his son, who isn’t otherwise getting an inheritance, Cooper said this week.
…Tipsters spotted Prince Harry and Meghan Markle at the ultimate art-world watering hole, Bemelmans Bar, having cocktails with oil heir Mikey Hess and his wife, designer Misha Nonoo—a longtime Markle friend who was previously married to star auctioneer Alexander Gilkes.
…Lorde, reigning queen of the moody radio hit, tends to have a thing for canceling plans, but she still managed to meet up with friends Tuesday at Dr. Clark, the enduring Chinatown hotspot with fresh sashimi and staff uniforms designed by Bode. She opted for an outdoor table because, you know, solar power.
…Pioneer Works, the sprawling art space founded by Dustin Yellin that helped turn Red Hook into a far-out creative hub for the last decade, has named a new executive director, Maxine Petry. She succeeds Eric Shiner, who before coming to the waterfront organization was the director of the Andy Warhol Museum in Pittsburgh and held positions at Sotheby’s and White Cube.
…If you ever wanted to ring up everybody’s favorite artist, KAWS, he apparently put his phone number and email address right on the back of a postcard work that sold Friday as part of the Public Intervention: Art of the Street sale at Sotheby’s. Well, at least it was his number in 1996, when the work was made. He might still check the KAWS01@aol.com account though!
On the Clock
An edited and condensed, hyper-quick Q&A with one of the greats. And hey, look who it is talking on my phone, it’s filmmaker turned visual artist Jim Jarmusch! His show of collages opened Wednesday at James Fuentes and will be on view through October 31.
True Colors: When did you start making these collages?
Jim Jarmusch: I started making them possibly 20 years ago, I would make them and send them off in a letter to a friend. It was early mail art before there was internet or email. In the last six years, I started making them a bit more consistently, and during the pandemic, Arielle de Saint Phalle, who works with me, said to me, you know, you have like 500 of these. You could make a book.
How did you get linked up with James Fuentes?
I knew his gallery—I’m always interested in these Lower East Side galleries that have been surfacing. And we’re sort of interconnected by Lee Quiñones, who’s an old friend of mine. Lucy Sante is an old friend of mine. And James had some photos of my brothers at some point.
What drove you to use newspapers as a medium?
I’ve been attracted to the material since I was a child, when I was looking at newsprint under a microscope. There’s something about the fragility and temporariness of the paper itself that first attracted me. Also newspapers are the most predominant way of getting information—or “so-called news.” I’m suspicious of all the corporate news shit, frankly.
Some of these are really harrowing, the ones where the faces have been removed.
It made me realize how interested I’ve always been in masks. African masks; indigeonous masks; European masked balls; Chinese ceremonial masks; Japanese Noh plays; ancient Greek masks; Batman; revolutionaries like Subcommander Marcos with the ski mask and the pipe; Zorro; Spider-Man; the Lone Ranger. I’ve been drawn to mask things. And it’s like I’m treating their heads and faces as replaceable.