I haven’t updated as recently as I would have liked. There is so much going on here at the end of the quarter, but I feel that there are several points that I want to quickly share. I confess, there is very little overt connective tissue between these various ideas, but the common denominator is that they are occupying my attention right now, and as I hope is clear through the overall journey of this blog, that which occupies my attention inevitably finds its way into influencing “the work” (i.e. my creative practice, the dances I make, the papers I write etc.)

So there’s Lady Gaga. There’s her new album Fame Monster that is blowing up my world.

And there’s its connection to ballet. On November 14th, Lady Gaga premiered her new song “Speechless” at MOCA’s 30th Anniversary Gala in Francesco Vezzoli’s “Ballets Russes Italian Style (The Shortest Musical You Will Never See Again).” She played a piano customized by Damien Hirst, wore a hat designed by Frank Gehry, was accompanied by dancers from the Bolshoi Ballet, who were attired in costumes designed by Miuccia Prada. That alone should be enough said. But you can read more about it here. And see a clip of it below. And an image.

So for my last week of teaching ballet this quarter (to beginner non-majors), I set all of my barre combinations to Lady Gaga, predominantly the new album, as an homage to this contemporary intersection of high Russian ballet and contemporary pop culture, it in itself an homage to the Ballets Russes and the work of Serge Diaghilev. After having taught Vaganova Technique all quarter, it felt appropriate.

I had an amazing opportunity to take a class with Jill Johnson, former dancer with William Forsythe and the Frankfurt Ballet (among a list of other credentials). I relished the opportunity to revisit a way of moving that became familiar last winter working with Nik Haffner and Forsythe’s “Improvisational Technologies.” Today Jill emphasized the relationship between these ideas and classical ballet technique, epaulement as rotations in the body, and working rigorously in abstracting these various rotations and counter-rotations. It was not the same way of moving that I explore last year, but there was significant overlap, and moments of realizing how that experience last year changed the way that I move “naturally.” You can see me exploring some of those ideas in a piece I performed in October here.

I am also working on authoring a new paper, the working of title of which is “Body of Knowledge/Knowledge of the Body: An Analysis of the Presence of Embodiment in Synchronous Objects for One Flat Thing, reproduced.” I am working to construct a working theoretical definition of what is meant by “embodiment” from synthesizing writings by Mark Johnson, George Lakoff, Judith Butler, Amelia Jones, Heidegger, and Henry Sayre, among others, and then looking for the presence of embodiment in Synchronous Objects. I have found that there is a fairly widespread uncomfortability amongst dancers engaging with this dance-based research project. I think it has something to do with a sense that the knowledge that we know as our moving bodies has been extracted, transformed into date, and re-presented in forms/objects other than the moving body. My interest in the implication of embodiment throughout the project, in the site of origin (the dance), the collection and translation of the choreographic systems into data, the transformation of the data into alternative re-presentations, and ultimately (and perhaps most viscerally) in the viewer of the project himself or herself. While the paper is still in the works, I feel that there are implications of embodiment throughout the project; this is most acute in the viewing of the project. The project is an object to be viewed, to be understood by a viewer. It is a request for the re-embodiment of the knowledge being re-presented. I am attempting to describe that not only does the site itself necessitate the (embodied) presence of the viewer, but that the way in which the objects themselves are understood are through conceptualizations of time, space, density, movement, etc. that emerge from an embodied experience of the world in which we live. This is supported primarily by Johnson and Lakoff’s writings in Philosophy in the Flesh and The Meaning of the Body: Aesthetics of Human Understanding. I’ll keep you posted on the paper. In the mean time, I hope you go and explore the site.

In the reading I’ve done in preparation for writing this paper, a gem of a resource was a book I came across by Henry M. Sayre entitled The Object of Performance: the American Avant-Garde since 1970. Sayre writes about the shift of importance in the visual art world from the art object to the performative act, and in doing so the shift of “presence” from the artist/object to the viewer of the object. He writes beautifully about the photograph emerging as a respected medium, a signifier of both presence (the viewer of the photograph, and even the photograph as an object itself) and absence (that which the photograph depicts). He also wrote about the action painting (re: Pollock, Krasner, others) as a significant shift, in which the paintings that were bought by museums and collectors were not the action painting itself. It was a thing concerned with the immediacy of the action; the painting acted as a trace, a document of the action, and yet an object itself. Like the photograph. Like Synchronous Objects. It has sparked some fascinating notions as I have engaged with visual art after this reading. Last weekend I saw a series of works by Dale Chihuly, mostly large glass sculptures. It was fascinating and exciting to engage this work as “movement traces,” the documentation of the actions of the glass artists (which, in Chihuly’s work, art already mostly interpretations of Chihuly’s “action painting” designs for the pieces), and even farther as potential “movement scores.” Visual art as movement score. Reading visual art as movement scores as a method for engagement. There is something there.

Speaking of art object as documentation of action, I just ordered a “Tit Print” by Annie Sprinkle. She posted on her facebook today that she just made another batch of them, and had them on sale today. They consist of large ink or paint prints using her breasts as her instrument. I think they’re lovely, a kind of Yves Klein way of revealing the body. And the fact that I am going to San Francisco later this month to interview Annie and Beth and see their upcoming show “Sexecology: Making Love with Earth, Sky and Sea” at Femina Potens Gallery.

One of Annie's Tit Prints

Finally, a little rant: I am exhausted about hearing about making art or dance “accessible.” I take issue with this word. Because it rarely refers to making art experiences available to the population. It most often implies that the art be constructed in such a way that the viewer can “get something out of it.” It is not about making the art itself accessible as it is about making a specific experience (or kind of experience) of the work accessible. I think it has emerged from the collective anxiety of audience and artist worrying that they have somehow misunderstood the art experience. And my issue is this: “accessible” implies that there is something to be “accessed,” something encoded that must be (able to be) decoded. It assumes that art is essentially communicable, that its purpose or intention is that the viewer understand or “access” the experience that the artist has of her or his own work. And I think that is simply not the purpose of art. My theory is also that we live in such a visually complex, communication driven culture that we spend our lives trying to “figure out” what we’re supposed to understand from images, advertising, commercials, etc. etc. etc., that we come to the art experience with that same pressure. It is my opinion that the art experience is perhaps the opportunity for reprieve from this way of engaging and understanding. The purpose is not to access the encoded meaning, but instead to engage with that with which you are presented and make it meaningful for yourself. Construct meaning rather than access meaning, using your experience of the dance or sculpture or literature or music, etc., as the materials by which you construct your meaning. In this sense, I am opposed to making art “accessible.” I am in favor of making art available. But I would like to do away with this language/concept that there is anything to “access” in art. It is there. You experience it. You make that experience meaningful for yourself using the materials before your as the materials of your meaning.

There. That’s my little rant for today.

Back to reading/writing about Synchronous Objects.

So last week weds i went to the Gagosian Gallery to see Jeff Koons New Paintings (I guess aside from it being his new paintings the show is called New Paintings). Well I have an interest in Koons because his Made In Heaven show in my opinion was Genius… aside from that most of his stuff is good… and the rest is a bit Blah. But anywho I have never had a chance to see his work at a gallery (I have seen his work at LACMA the best one there being Michael Jackson and Bubbles). Well back to the show, I walked in saw these giant painting of naked females, tress, and pussy drawings, there was 10 paintings total raging from 2.5 – 3.5 million each. Now that’s the kind of money my work is worth about now. So congrats Koons for making it happen. Here are some pics so that you all believe me and don’t think I’m full of malarkey.

La-Familia

Dupa cum stiti, ieri 29 noiembrie Albumul Vacanta in Mexic a fost lansat.

In album ii puteti asculta pe Sisu, alaturi de Puya, Cabron, Cedry2k, Tony batranu, Nimeni altul si altii.

Download Album click

Currently on view at the Museum of Contemporary Art, North Miami, The Reach of Realism brings together an international group of artists exploring the artistic traditions of Realism in an age of digital manipulation and staged reality. The exhibition features works by Uta Barth, Olaf Breuning, Tom Burr, Talia Chetrit, Anetta Mona Chisa & Lucia Tkacova, Phil Collins, Thomas Demand, Alex Hubbard, Matt Keegan, Ragnar Kjartansson, Elad Lassry, Lars Laumann, Adam McEwen, Wilhelm Sasnal, Xaviera Simmons, Martin Soto Climent, Wolfgang Tillmans, Sara VanDerBeek, Emily Wardill, Gillian Wearing, Judi Werthein, and Artur Zmijewski. The Reach of Realism is curated by MOCA Associate Curator Ruba Katrib.

The contemporary artists in The Reach of Realism use various strategies to address the increasing fusion between daily life and popular media. From 19th century painters who depicted everyday life during the industrial revolution, to the 1980s “pictures generation” of artists who criticized the media’s growing influence on society, artists have used realism as a political strategy. Today, it is widely understood that while images are effective in communicating ideas, they have lost some impact in communicating truths because of increased manipulation and outright fabrication. The artists in the exhibition convey the desire for authenticity in images while distrusting the ability of images to communicate an objective reality. By choosing to obstruct straightforward depictions and instead reveal poetic truths, these artists question whether the images they produce and the realities they portray can be meaningful. In creating semblances of reality, the artists are more interested in the inclusion of a detail or moment in a work that contains the potential for realism and not realism itself.

Images and text provided by the MOCA

Oiii minhas queridas !!!

Ando meio sumidinha, mas é essa correria de fim de ano mais tcc que faz isso… acho que vocês entendem né =]

Esse fim de semana tive uma folguinha então resolvi brincar com minhas caixinhas de esmalte. Fiquei um tempão testando combinações de esmaltes para ver o resultado final. Adoroooo ficar de bobeira fazendo isso !!!

Entre as combinações que eu fiz, uma me agradou em especial. Acho que isso também tem muito haver com o fato deu estar com um tombo uma queda por tons de laranja de todos os tipos… efeitos da energia do verão já esta tomando conta desse corpo… hahahahahahaha

E vocês ja devem estar curiosas para saber que combinação foi essa …. pois bem, a combinação que ganhou meu coração nesse fim de semana foi dos a dos esmaltes Moça da Guga e Amarelo nome super original da Dote. E o resultado vocês podem conferir ai em baixo:

Eu estava EXATAMENTEEE com essa cor em mente… queria usar um esmalte que tivesse cor de manga !!!! Até que testei varios dos meus e nenhum tinha cor de manga como eu queria. Então após passar 2 camadas do moça resolvi passar uma camada do amarelo por cima para ver qual resultado daria, e o que posso dizer ??? BINGO …

Consegui a cor de manga q eu estava imaginando…. Claro q a foto não captou, mas ficou cor de manga neon !!!! Ja que o moça é uma cor super neon… Claro que o amarelo por cima deu uma quebrada nesse tom neon do moça, mas não o suficiente para apaga-lo totalmente, ele ainda ficou neon…. só que “brilhando menos”.

O moça mancha um pouco na hora de passar, então passei duas camadas não tão finas pra manchar menos. O resultado fica lindoo… não parava de olhar para minha mão !!! A cor rendeu elogios até do pessoal na facul…

Eu não conheço nenhuma marca que tenha essa cor de manga (sim, ficou muitoooo igual a cor de manga), pelo menos por aqui na terrinha nunca vi. É uma combinação que super vale a pena pra quem gosta desses tons laranja e das cores neon que estão vindo cada dia mais com tudooo.

Fiz essas florzinha em branco com a plaquinha S9 da Konad e finalizei com uma camada do roxinho da avon.

E vocês gurias, gostaram …. usariam algo assim também???? Eu confesso que pirei nessa cor

Bjooosssss gathas =**

This Lady Gaga phenomenom is weird, When I first saw her, I have to say I hated her, it’s just the (awful) way she dresses. I know she wants/needs the attention, but it’s too much for me. But her music is somenthing else, I don’t specially like it, that was until Papparazzi, which, I have to say, is my guilty pleasure right now. A few days ago I read somewhere on the web that she had teamed with italian artist Francesco Vezzoli for a show at MOCA’s  30th Anniversary Celebration in LA. She sang her new single “Speechless” along a pink piano with butterflies painted by Damien Hirst, while the Bolshoi Ballet danced in the stage in costumes designed by Miuccia Prada. The whole show was, of course, masterminded by Vezzoli; who has often flirted with the show business. Looking Lady Gaga through the “art glass” surely puts things in a different perspective, I at least, stop thinking about her as an extravagant self-centered girl in desperate need of attention, and start considering her as an artist. So, very clever move by Lady Gaga and Vezzoli, both of them getting something from teaming up with each other.

Pictures: Just Jared and Coutorture

Continuando con la celebracion de los 30 años del Moca, como era logico organizaron una fiesta a la que asistieron infinadad de gorrones famosos, entre ellos nuestra querida Tranny Gaga, en el evento no perdio oportunidad de lucir uno de sus espantosos modelitos y de promocionar su nuevo sencillo “bad romance”, la verdad es que Gagaloo ultimamente se ve mas delgada y freaky que de costumbre, pero no hay que negar que no pierde su encanto de excentricidad XD.

click en las pics para agrandar

Ramón Cáceres nació en Moca (República Dominicana) el 15 de diciembre de 1866. Asumió por primera vez la Presidencia de la República un día como hoy (29/12) en 1905, hace 103 años, teniendo 39 de edad, lo cual lo convertiría en uno de los presidentes más jóvenes de nuestra historia.

Era vicepresidente de Carlos Morales Languasco, quien encabezaba un gobierno antinacionalista que prácticamente entregó nuestro país a los intereses extranjeros, cediendo ante la presión de la doctrina Monroe que rezaba “América para los americanos”, y sobre todo a raíz de la firma del Convenio del Modus Vivendi que sentó las bases para que Estados Unidos empezaran a gobernar nuestras aduanas, siendo éstas para la época nuestra principal fuente de ingresos económicos y lesionando así gran parte de nuestra independencia.

Las diferencias entre el presidente Morales y el vicepresidente Cáceres se incrementaban en la medida en que el gobierno se descomponía en su actitud entreguista hacia intereses extranjeros. Las luchas encabezadas por Desiderio Arias y Demetrio Rodríguez hicieron saltar del cargo a Morales y obligaron a Món a asumir la presidencia. Se inició un período de recuperación de la independencia económica empeñada.

Pagar la deuda externa era la prioridad principal del nuevo gobierno. La firmeza y fortaleza del carácter personal de Món caracterizaron su administración. Se modificó la Constitución y se anuló el cargo de vicepresidente; se duplicó el número de escuelas en nuestro país; invirtió grandes recursos y planes de desarrollo a favor del campo dominicano; enfrentaba directamente a los generales y líderes insurgentes; controló el libertinaje existente para la época; creó la Guardia Republicana, la cual pasó a ser conocida popularmente como la Guardia de Món.

Encabezó un gobierno que se dio a respetar. No dejó de ser demócrata, pero tenía mano firme. No fue un dictador pero no permitía los abusos de libertad que vemos hoy día en nuestros pueblos.

En cuanto a las relaciones internacionales, nunca permitió que intereses extranjeros estuviesen por encima de los nacionales. Fue un presidente serio, guapo, educador. Atendía personalmente los asuntos de Estado. No creo que a nuestra sociedad de hoy le haga falta un Trujillo, pero sí un presidente que se parezca más a Món Cáceres.
Víctor Gómez Casanova es comunicador en la República Dominicana

Enviado por Antonio Nelsón Annelson002@hotmail.com

Nacido en Estancia Nueva, Moca (República Dominicana) el 15 de diciembre de 1866, fue hijo de Manuel Altagracia Cáceres, asesinado en 1878 por orden de Ulises Heureaux cuando iba a ocupar la presidencia de la república, y de Remigia Vásquez.

En su adolescencia se dedicó a trabajos agrícolas y, fundamentalmente, a mejorar la crianza de ganado bovino. Era un hábil jinete y consumado tirador.

Se cuenta que no manifestó su interés en política hasta que su primo Horacio Vásquez, destacado opositor del tiránico régimen de Ulises Heureaux (Lilís), le comunicó que éste había ordenado su asesinato. Entonces, de manera intempestiva y cargado de cólera, le expresó a su primo que había que anticiparse al cumplimiento de tal orden, liquidando antes a Heureaux. En 1899 encabezó el grupo que asesinó al dictador.

Vásquez estableció en Santiago un gobierno provisional, del cual Cáceres formó parte como Ministro de Guerra y Marina. Días más tarde Vásquez, tras la renuncia del Vicepresidente de Lilis, convocó las Asambleas Plenarias, recomendando como presidente a Juan Isidro Jiménez. Cáceres renunció al Ministerio y fue nombrado en Santiago como Delegado en el Cibao. Tras las elecciones celebradas en octubre en las que salió triunfante la candidatura Jiménes-Vásquez , Cáceres ocupó el cargo de Gobernador de Santiago.

Cuando Horacio Vásquez asume la presidencia el 26 de abril de 1902, confirmó a Cáceres en la gobernación de Santiago y además le restituyó el cargo de Delegado en el Cibao.

En el gobierno dictatorial de Carlos Felipe Morales Languasco (1903-1905) Cáceres se desempeñó como Vicepresidente. Cuando estalló la revuelta llamada “desunión” contra el gobierno de Morales Languasco, Cáceres lo defendió con las armas y gracias a la lealtad de la Marina y al respaldo recibido de los norteamericanos, lograron sofocar la rebelión.

En 1906 llegó a la presidencia de la República. Durante su mandato confirmó el protectorado estadounidense y el llamado modus vivendi, que caracterizó las relaciones con Estados Unidos. Practicó una política represiva para mantenerse en el poder. En 1908, año en el que fue reelegido, aprobó una nueva Constitución.

Fue asesinado el 19 de noviembre de 1911 por un grupo de jóvenes opositores, encabezado por Luis Tejera.

and Lady GaGa and Ballets Russes are among those to join.. This week on Thursday, MOCA will celebrate its milestone anniversary with a benefit bringing together power names of the contemporary art world. Joining the chairs Maria Arena Bell and Eli Broad are honorary gala chairs Larry Gagosian and Dasha Zhukova, along with artists, collectors, and patrons. Planned in conjunction with the opening of the exhibition Collection: MOCA’s First Thirty Years, artists featured in the museum’s collection including Chris Burden, Jeff Koons and Ed Ruscha will also be in presence.
Following red carpet arrivals, a performance piece from artist Francesco Vezzoli will be presented for the first and only time. Vezzoli’s work, Ballets Russes Italian Style (The Shortest Musical You Will Never See Again), will star Lady Gaga and dancers from the Bolshoi Ballet performing the world premiere of Speechless. This night promises to be quite memorable!

The Museum of Chinese in America sits on a quiet stretch of Centre St. fringing Soho and Chinatown, and initially I mistake its glossy front for another boutique, except the two nattering men in uniform outside seem incongruous on an empty street. “Is this the…?” I’m still confused by the museum’s name at this point, but they make welcoming noises and I duck inside, still flustered.

The museum had been recently redesigned by the architect Maya Lin, who lined the walls and floors with dark wood to make the interior feel intimate and historical, like an old house. Passing the lobby, you enter into a room with a time line mounted on the wall that winds through the museum, highlighting the more important developments in Chinese-American history to act as a narrative backbone the visitor follows, from which spring curious objects, including a book for make-up artists on how to apply proper yellowface (like blackface, but you know, with taped eyelids), and a toy gun in which the pressed trigger activates the figurine of a European man to pull a the queue of a “Chinaman” and kick him from behind, popping the toy bullet from his mouth. In the next room, a neon sign advertising chop suey glows red above photographs taken by the German émigré Arnold Goenthe, who took street photos of the area but doctored out European-Americans to heighten “exotic pictorial affect.”

The time line eventually leads to another room detailing the change in attitude come World War II, reversed in reaction to Mao’s ascension, and then flipped again around the introduction of the term “model minority.” Tables in the middle of the last room contained more artifacts, among them a documentary clip about Long Tack Sam, a forgotten vaudeville magician who worked with Cary Grant and Orson Welles, and portraits from the Hapa Project (hapa is slang for those of mixed race with Asian or Pacific Islander roots). Under a boy’s photo: “I am part Chinese and part Danish. I don’t usually tell people I am Danish though, because they think I’m a pastry.”

I left the museum surprised by what it contained, and disappointed by my own inability to recognize history not celebrated in popular imagination. In showing once mundane items we now deem absurd (I’m still hung up over that pop gun), the museum insists on the importance of inheritance in building a modern identity, and I am grateful for its reminder.

********

Livia Huang, CC ‘12

ET has a candid look at Brad Pitt and Angelina Jolie as they joined their celebrity peers at the Museum of Contemporary Art’s (MOCA) 30th Anniversary Gala in Los Angeles, Calif. on Saturday night.
The couple had some laughs as they followed their tour guide through the museum.

“It’s going to be an amazing night to look at the art,” actor Neil Patrick Harris said prior to the event. “And Lady Gaga is dancing with ballet people so that will be kind of crazy.”VIEW VIDEO..

Lady GaGa playing on a freshly designed/painted piano by Damien Hurst.

The Museum of Contemporary Art (MOCA) in Los Angeles held its 30th Anniversary event over the weekend. Amongst the star-studded attendees were Pharrell Williams and Japanese superflat master Takashi Murakami. The event showcased the museum’s entire collection for the first time ever with a special performance by Lady Gaga, playing on a Damien Hirst-painted piano which was later auctioned off for $450,000.

Source: Ann Johansson @ The L.A. Times

I. Love. It.

Via The Fugdams Family.

Brooke Magnanti, pesquisadora em neurotoxologia (se é complicado de pronunciar, imagine trabalhar com a bagaça), teve dificuldades em se manter durante a dedicação exclusiva em seu doutorado em Londres. A moça não teve dúvidas, ligou para uma agência de “modelos” e se cadastrou.

A Doutora Bruce Magnanti... o óculos de pirigueti entrega o passado da moça!

Durante o ano em que trabalhou como “moça da vida”, Brooke ganhava cerca de €400,00 por noite! Pense nisso, enquanto você rala a bunda (metaforicamente) num escritório mal iluminado, calorento (os poucos que tem ar-condicionado vivem quentes porque as piriguetes que chamamos de colegas vão ao trabalho semi-nuas e morrem de frio) e aguentando um chefe imbecil, para, com alguma sorte, ganhar por volta disso por mês! Dá até pena dos londrinos, têm que pagar essa grana para comer uma loira meia boca pra caralho. Com essa bufunfa, o sujeito fazia a festa no Bokarra (puteiro “classe A” de Floripa)*.

Depois de umas duas doses, eu até pegava. Mas pagar 400 Euros? Náááááh!

Bem, a moça,digo, doutora, hoje trabalha na prestigiosa universidade de Bristol, seus colegas de trabalho sabem do fato, e ainda fatura horrores com um blog (Belle de Jour), onde contava anonimamente, até hoje, suas aventuras na alcova, já tendo escrito livro e vendido direitos para filme (ou vocês achavam que Bruna Surfistinha era original?). Ela só decidiu revelar sua verdadeira identidade depois que um ex-namorado insatisfeito (eu estaria insatisfeito mesmo que ainda namorasse. Fala sério!)** ameaçou revelar seu segredo.

Então tá. Não é só em Floripa que algumas universitárias se dedicam a “atividades extra-curriculares”. Da próxima vez que uma moça da vida disser ter planos de ser alguém importante e largar “a vida”, não duvide.  Taí a prova.

Abraços e até mais.

* Como homem muito comprometido e sério, não freqüento tais ambientes. Ok, Ju?

**Na real, namorando e comendo de graça (como se houvesse tal coisa!) eu acho que estaria satisfeito. Afinal, a moça até que dá prum gasto, é inteligente (tem doutorado, porra!) e, convenhamos, deve mandar bem no escurinho, depois dessa pós-graduação em safadeza. Mas 400 Euros por uma noite?

The stars came out for the free food and drink at the MOCA (Museum of Contemporary Art) New 30th Anniversary Gala in Los Angeles, California.

Not shockingly unique or anything, but pretty and classic. The color makes it.

Angelina Jolie in Armani Privé

She looks a little healthier than she has in recent months. The dress is okay. Her style philosophy seems to be “If I’ve got a face like this, why go overboard on the dress?”

Chloë Sevigny

Miu Miu Spring 2010 Collection
Model: Amanda Norgaard

We love the shoes but we only like the top part of the dress. It’s weird around the waist.

Christina Ricci

Prada Spring 2010 Collection [Modified version]
Model: Sharon Kavjian

The dress is gorgeous from the front, but the back of it looks like she got caught in some drapes or something.

Daisy Fuentes

Gustavo Cadile Spring 2009 Collection

High-end prom dress.

Eva Mendes in Miu Miu spring 2010

Do not like whatever that is in her hair, but we like the dress quite a bit. Oh sure, the bodice looks a bit heavy and overworked, but the overall effect is striking and different. And her eyebrows are too close together. Fire your waxer.

Gwen Stefani

Dolce & Gabbana Spring 2010 Collection
Model: Chanel Iman

RUINED IT. She should be hauled off to fashion jail with no chance for parole.

Jessica Alba in Prada Spring 2010

This induces the same reaction we always have when we see her: one big yawn.

Kate Bosworth

Proenza Schouler Spring 2010 Collection
Model: Carmen Kass

The dress is okay (kind of weirdly shapeless, though), but what is UP with that hair? No excuse.

Marisa Tomei in vintage Jean Desses

We don’t know… it’s cute and all, but she looks like she’s attending her kid’s First Holy Communion in 1960.

Shirley Manson

Marchesa Spring 2010 Collection
Model: Carolyn

We kinda like. There’s a bit too much at the bottom and the split sleeves are a bit too voluminous, but the rest of it we like.

Rachel Zoe in vintage Pucci

We like it. Striking and bold. We’re not even going to mention the state of her body because EVERYONE mentions that.

Zoe Saldana

Marchesa Fall 2009 Collection
Model: Jules Mordovets

more:

Decipher: 2009 MTV Europe Music Awards – Beyonce, Juliette Lewis, Katy Perry, Leona Lewis, Lil’ Kim, Shakira

Decipher: Glamour Magazine 2009 Women of The Year: Iman and Rihanna

By projectrungay & Photos from WireImage/Style.com

Lady Gaga performed her new song, Speechless, at the MOCA (Museum of Contemporary Art) NEW 30th anniversary gala on November 14, 2009 in Los Angeles, for an audience that included celebrities like Gwen Stefani and Gavin Rossdale, Shirley Manson, Pierce Brosnan and Kate Beckinsale.  In true Lady GaGa fashion, her presentation was fabulous to the max.  Her outfit was designed by Muccia Prada, Frank Gehry, and Baz Luhrmann; her set included a rotating pink piano designed by artist Damien Hirst, and dancers from Russia’s Bolshoi Ballet.   You can catch a clip of her performance below.

Voici pourquoi j’ai un faible pour l’artiste…!!

En présentation au 3o ème anniversaire du Los Angeles Museum of Contemporary Arts, elle se présentait elle-même comme une oeuvre d’art. Elle chantait sa chanson “Speechless” habillé par PRADA…  “Bejeweled Prada chandelier skirt and a headpiece by Frank Gehry” sur un piano ROSE de style Damien-Hirst avec des danseurs (ses) du Russia’s Bolshoi Ballet.

WOW

Stars attended the MOCA NEW 30th anniversary gala held at MOCA on November 14, 2009 in Los Angeles, California. Everyone looked for elegant for this artistic and cultural occassion! Hit “Read More” to view the rest of the pics!

 

1 2 3 testando…, upload feito originalmente por paulicasantos.

Desenho para Almanaque Retratos e Relatos do Maranhão

Lady Gaga apresentou pela primeira a música “Speechless” durante a festa de aniversário de 30 anos do MOCA (Museum of Contemporary Art) em LA no sábado. Ga-gaa foi a única artista convidada para se apresentar durante a noite, ao lado do artista italiano Francesco Vezzoli e com a participação báfu do ballet Bolshoi da Russia, fazendo uma coreô mais báfu ainda durante a apresentaçán. Perez Hilton é claro que esteve por lá (eu mandei ele, que é meu correspondete em LA) e disse que foi de chorar lágrimas de diamantes.

ps: aguardo o video da apresentaçán