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Fashion’s tastemakers and trendsetters started packing up on the eighth and final day of New York Fashion Week Thursday as shows are beginning this week in London, followed by Milan and Paris. But as the runway previews of fall looks continue in Europe, some early trends have emerged. The most popular looks to grace the [...]

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Cathy Pelligrino stood at the scene of a three-alarm fire at 368 Himrod St. in Brooklyn on Jan. 17. Ms. Pelligrino has lived for 44 years at 374 Himrod St., which she said was damaged by the fire as well. (Andrew Hinderaker for The Wall Street Journal)


Maksim Gelman was led out of court after an outburst during his sentencing in Brooklyn Supreme Court on Jan. 18. Mr. Gelman, who killed four people during a 28-hour rampage of stabbings and carjackings, was sentenced to at least 200 years in prison. (Andrew Hinderaker for The Wall Street Journal)


Fitz Fullerton, a livery cab driver who was stabbed by Maksim Gelman, made a statement to the press on Jan. 18 after Mr. Gelman was sentenced. (Andrew Hinderaker for The Wall Street Journal)


A bartender poured a West Side Cowboy, a signature drink at the Vinatta Project at 69 Gansevoort St. in Manhattan. (Ramsay de Give for The Wall Street Journal)


Models wore wedding gowns and tuxedos during a fashion show at the LGBTQ Wedding Expo on Jan. 15 at Brooklyn Borough Hall. (Daniella Zalcman for The Wall Street Journal)


Sardines (in saor), an appetizer at il Buco Alimentari & Vineria, at 53 Great Jones St. in Manhattan. (Lauren Lancaster for The Wall Street Journal)


A woman and a dog walked in the rain near Brooklyn Bridge Park on Jan. 17. (Andrew Hinderaker for The Wall Street Journal)


A leaking gas line caused an explosion, destroying a townhouse on Zarriello Lane in West Haverstraw in Rockland County, north of Manhattan, on Jan. 16. Here, firefighters at the scene (PJ Smith for The Wall Street Journal)


Megan Fairchild and Joaquin De Luz rehearsed at Lincoln Center on Jan. 12. (Ramsay de Give for The Wall Street Journal)


Crab cakes, served with Dijon aioli, at Amsterdam Tavern, 938 Amsterdam Ave. (Ramsay de Give for The Wall Street Journal)


Rudy’s, at Ninth Avenue and 44th Street in Hell's Kitchen. (Andrew Hinderaker for The Wall Street Journal )


Marc Jacobs’s newly renovated showroom at 72 Spring St. in SoHo. (Philip Montgomery for The Wall Street Journal)


Morrison Heckscher, chairman of the Metropolitan Museum of Art’s new American Wing, at the museum on Jan. 13. (Ramsay de Give for The Wall Street Journal)


Artist Tadaaki Kuwayama with his new work at the Gary Snyder Gallery, on West 20th Street in Manhattan. (Philip Montgomery for The Wall Street Journal )


Occupy Wall Street protesters rolled a giant dice on Jan. 16 at 33 Liberty St. in Lower Manhattan. (CS Muncy for The Wall Street Journal)

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Easily one of the most impressive photography books of the year, “The New York Times Photographs”, published by Aperture and edited by Director of Photography Kathy Ryan, brings together a collection of four hundred photographs shot for The New York Times Magazine from the late 1970′s to 2011.

In an insightful foreword Kathy Ryan explains the unshrinking approach to assigning photographers that the New York Times Magazine has become known for: “Why not send a veteran war photographer to photograph the Oscar- worthy actors one year? Or commission a gallery of Olympians by an artist with a very personal iconography, rather than by a sports photographer? “Cross-assigning” is a signature of this magazine, an approach that came clearly into focus with the publication of the “Times Square” issue in May 1997—an issue devoted entirely to images by a group of photographers working within all genres of photography.”

As Kathy Ryan notes, cross-assigning takes faith. Of course this approach can be risky, but perhaps no more hazardous than always doing the expected. Turning the glossy pages of this substantial book, the reader will see that its rewards are rich and varied.


Ryan McGinley, Courtesy the artist/Team Gallery, New York. Emily Cook, 2010 Olympic freestyle skier (aerials). From “Up!,” published February 7, 2010.


Lars Turnbjork, 42nd Street and Eighth Avenue. March 23, 1997.


Gregory Crewdson, Courtesy Gagosian Gallery; Untitled. From “Dream House,” 2002.


Malick Sidibé, Courtesy André Magnin. Assitan Sidibé in Marni polka-dot top, Christian Lacroix striped top, Marc Jacobs dress, and Christian Louboutin.


Laura Letinsky/Yancey Richardson Gallery, New York.


Simon Norfolk/Institute, One section of a particle detector in the Large Hadron Collider, the world’s largest and highest-energy particle accelerator, 2006.


Sebastião Salgado/Amazonas images


Stanley Greene/NOOR, the road to Samashki in Chechnya, 1996.

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Playful, sensual and elegant are some of the words that describe Serge Leblon's photographs. His images are anything but harsh, opening up an evocative world of fantasy and desire. In fact, the Belgian's romanticism is somewhat at odds with the aggressive sexiness found in mainstream fashion imagery. Even though he has a spark in his eyes, Leblon comes across as a discreet and humble man.

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American artist Lee Price paints photographs of women and food. Working with her photographer Tom Moore, the images are painstakingly reproduced using oil on linen canvas’ to create a soft milky tenderness to a series of works exploring the deeper aspects of feminine nature. In this line of work, Lee develops her ideas by focusing on the nurturing traits conditioned in women to look after the needs of others before tending to their own. Continuing her observation of feminine conditions through this singular technique, Lee talked to Dazed Digital about the process…

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Taking portraits of people entering his flat for a consecutive five days, experimental photographer Martin Zahringer created a lighting setup in his home and asked his flatmates, via chalkboard, to take their portraits - as he had decided to conduct it in complete silence. The invitation was then extended to his friends on Facebook which then led to a steady stream of up-for-it people coming into Zahringer's flat every day. The results of the portraits means they were of a very awkward and intimate nature as he wouldn't be able to chat to or direct them. In addition to this, because of the lens he used, Zahringer was rather too close for comfort to the people he was shooting - which may show in the final images...

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As a breakthrough actor, Rain Phoenix first appeared on the silver screen in Gus Van Sant’s cult classic 'Even Cowgirls Get the Blues', yet her musical career was established back when she was only three-years-old with her notably talented family, the late River, Joaquin, Liberty and Summer Phoenix. Her own sprawling musical project is papercranes, which debuted in 2006 with the melancholic yet soaring psychedelic folk of 'Vidalia'.

A huge collaborative collective, papercranes sees Phoenix work with an ever-evolving band that has included Michael Perfitt, Michael Tubbs, Robb Buono and her sisters Liberty and Summer Phoenix. Her latest album is out in July on the brilliant Manimal Vinyl label (Warpaint, Sister Crayon) and she introduces this powerful, melodious epic 'Let’s Make Babies in the Woods' with the tumultuous single 'Sea Red' and video directed by the Hollywood nightlife legend, Amanda Demme.

Dazed Digital: Collaborations play an important part in papercranes, can you explain more about the band?
Rain Phoenix: For me, songwriting starts with a melody. When a musician plays a chord progression, either the words and vocal melody come to me, or they don't. That's how I determine who to write with. It works or it doesn’t. Without the willingness of fellow writers to share their melodies with me, there would be no papercranes. I have written songs alone, but much prefer to share in the experience. 

DD: How have your creative goals with music changed throughout the years?
Rain Phoenix: It took a long while for me to even put out a record because there were so many options of how to do a song, and in some respects, I'm never totally happy with the outcome. I've been making an effort to perceive it differently, to see it as a chance to explore and experiment. Perfection may never be attained but the freedom in letting go has allowed me to enjoy it more.

DD: What does this record represent to you?
Rain Phoenix: This record 'Let’s Make Babies in the Woods' was an experiment for me in exactly that. Letting go of what I've learned and instead, working from the rawness of emotion without hesitation.

DD: What do you think about LA’s relationship with folk and psychedelia?
Rain Phoenix:
I don't know much about the music scene in LA. I'm learning more daily. I do know one thing for sure, there are so many great bands! If I were to make an uneducated guess about LA’s relationship with folk and psychedelia, I would say, it must be the weather.

DD: Can you remember how it was on set with Gus Van Sant?
Rain Phoenix
: Gus is a true original. A visionary. An artist. He has a way of making the people he works with feel safe. There are little things he said to me many years back, that I still use as an actor and performer today.

DD: What’s the future going to bring? 
Rain Phoenix: I want my future to involve these things. To be the best person I can be. To produce more inspired art. To love deeply. To know that everything is going to be alright. I hope for all of us that the future brings us towards evolving our consciousness. To delving deeper into our true power. To exploring more the key to sustaining our planet and our art for the better of all living things.

'Let’s Make Babies in the Woods' is out July 11 on Manimal Vinyl.

Papercranes - Red Sea

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