Untitled Project

UnTitled Project

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Titled 2016 Titled Project $24.00 US Un Project Project Issue Nº Daniel 8 Titled Titled Nº8 U

journal of art & fashion journal of art T P Un 2016

UnTitled Project the Natural issue

ANNAMARIA photographed by YELENA YEMCHUK

featuring The Art project with: Matthew JENSEN, Yelena YEMCHUK, Lucas FOGLIA, Luis VENEGAS, Tim BARBER & Paul P. The Art feature project with: Jock STURGES: the Naturalist project with: Daniel RADCLIFFE, Dustin Lance BLACK, Sarah PAULSON, Cody SIMPSON, THAM & VIDEGÅRD, Cory Michael SMITH, India SALVOR MENUEZ, Peter VACK, Venetia SCOTT, Johan SVENSSON, Sam CLAFLIN The Fashion project with: Carson MEYER, Maisie KENNETT, Marcel CASTENMILLER, Jacob MORTON, Heather MARKS, EMIEL & Tali LENNOX with photography by: Malerie MARDER, Tim RICHMOND, Dennis GOLONKA, Ben LAMBERTY, Alex STRAULINO, Christophe KUTNER & Yann FAUCHER. & The project remembering David ARMSTRONG & Mary Ellen MARK. Last UPT 1 198 JACOB MORTON photographed by BEN LAMBERTY Nº8 U

journal of art & fashion journal of art T P

UPT 3 UnTitled Project

40 TOMMY TRYING TO SHOOT COYOTES, Big Springs Ranch, Oasis, Nevada 2012 by LUCAS FOGLIA UnTitled Project

www.un-titledproject.com Masthead UnTitled Project 2016 UTP Nº 8 EIC / Creative Director - Dennis Golonka Executive Editor - om Lonardo on the COVERS Daniel Radcliffe, Heather Marks, Cody Simpson, Sam Claﬂin & Annamaria Fashion Director - Romina Herrera Malatesta Arts Editor - Wayne Northcross Picture Editor - Leif Harrison Producer - Matt Brown Junior Fashion Editors - Page Schultz & Anna Devereux Fashion Assistants - Caitlin Cowger & Samantha Chloe Rex Creative Editor at Large - Malerie Marder Contributing Art Directors - Manuel Schibli & Lisa Shapiro Contributing Features Editor - Scott Bramlett Contributing Market Editor - Giorgia Fuzio Interns - Johanna Aquino, Tricia Marshall & Kengie Arroyo

Fashion Editors: Romina Herrera Malatesta, Adam Winder, Johnny Wujek, Sara Alviti, Rita Zebdi, Emil Rebek, Rüben Moreira, Page Schultz, Anna Devereux Writers: om Lonardo, Wayne Northcross, Laura- Antonia Jordan, Alec Holland, Ann Damoison- Daniel Radcliffe: wearing Marc Jacobs Cody Simpson: wearing shirt by Blk Dnm Back Covers: Larsson, Malerie Marder, Madison Stephens, painting: Kris Knight & ring by Mara Carrizo Scalise le to right John Mascaro, Julia Szabo, Lisa Dotson, John art director: Lisa Dotson photographer: Dennis Golonka Dennis Golonka David West, David Gagliardi stylist: Romina Herrera Malatesta stylist: Romina Herrera Malatesta Luis Venegas Art: grooming: Tanya Pacht using Oribe groomer: Gavin Harwin Alex Straulino Tim Barber, Matthew Jensen, Yelena Yemchuk, haircare producer: Chelsea Maloney Ben Lamberty Nino Muñoz, Ben Lamberty, Kris Knight, Jock set design: Josh Dotson @ SEE Management Dennis Golonka Sturges, Hao Zeng, Manuel Schibli, Lucas Foglia, producer: Chelsea Maloney associate producer: Matt Brown Elisabeth Toll, Luis Venegas, Malerie Marder, photography assistant: Shane Lavancher fashion assistants: Page Schultz Christophe Kutner, Dennis Golonka, Tim stylist assistant: Page Schultz & Giorgia Fuzio Richmond, Yann Faucher, Maurizio Bavutti, special thanks: Jay and Maryanne @ special thanks to: Jay Stadwick, Alex Straulino, Paul Mpagi Sepuya, Richard Dune Studios Ashley Lanaux & Justin Stirling Burbridge, Paul P. shot in New York at Dune Studios Location: Dune Studios, NYC Sponsors and Special anks: Carolyn Bodner, Lisa Giallombardo, Peggy Heather Marks @ Women Mgmt. Annamaria: Bremner, John Shegda, Glen Gonzalez, Lesley wearing Creatures of the Wind photographer: Yelena Yemchuk Mcburney, Joel Harrison, Sharon Devereux, photographer: Dennis Golonka James Saleib, Jay & Maryanne Stadwick stylist: Romina Herrera Malatesta Sam Claflin: wearing Jerey Rüdes Advertising: hair: Cash Lawless @ Jed Root makeup: Charlotte Day @ See Manage- photographer: Maurizio Bavutti Subscribe online and for all contact details [email protected] ment using MAC cosmetics stylist: Romina Herrera Malatesta please vist www.un-titledproject.com Publisher: prop stylist: Teri Cotruzzola producer: Matt Brown © 2016 UTP Publishing. All right reserved. UTP Publishing photography asst: Shane Lavancher styling assistants: Page Schultz [email protected] We welcome new contributions but can assume stylist assistants: Page Schultz & Caitlin Cowger no responsibility for unsolicited material. Distribution: & Anna Devereux special thanks: Amy Bartlett www.un-titledproject.com Brooklyn NY 11226 Export Press www.exportpress.com special thanks: Lesley & Joel Harrison & Laura Colman @ Premier 126 illustration by INDIA SALVOR MENUEZ, “WALKING HER SELF LIKE A DOG” Daniel Radcliffe, Heather Marks, Cody Simpson, Sam Claﬂin & Annamaria

126 illustration by INDIA SALVOR MENUEZ, “WALKING HER SELF LIKE A DOG” UPT 7 UnTitled Project

212 CARSON MEYER photographed by MALERIE MARDER 46 WHAT DO WE DO? WE FLY! photographed by LUIS VENEGAS UnTitled Project Contents: UTP 2016 Nº 8

11 the Editor’s note 164 the FASHION project pg 164-259 164-179 Sans Titre: 12 the Contributors featuring Isabelle Nicola photographed by Christophe Kutner 16 the ART project pg 16-75 styled by Romina Herrera Malatesta 180-197 The Wild One: 18-23 Traffic Cam Sunrise by Matthew Jensen featuring Heather Marks 24-39 Annamaria by Yelena Yemchuk photographed by Dennis Golonka 40-45 Lucas Foglia text Wayne Northcross styled by Romina Herrera Malatesta 46-53 What Do We Do? We Fly! by Luis Venegas 198-211 Pieces of the other: 54-61 Blues by Tim Barber featuring Marcel Castenmiller & Jacob Morton 62-67 Aristotle’s Youth by Paul P. art direction by Manuel Schibli 68-75 Art Feature Project: Jock Sturges photographed by Ben Lamberty text Dennis Golonka styled by Romina Herrera Malatesta 212-219 A Novel Day: featuring Carson Meyer photographed by Malerie Marder 78 the NATURALIST project pg 78-161 styled by Romina Herrera Malatesta 220-227 Dreamer: 78-87 Daniel Radcliffe text by Laura Antonia Jordan painting by Kris Knight photographed by Dennis Golonka featuring Maisie Kennett photographed by Tim Richmond 88-93 Dustin Lance Black: text by Thom Lonardo styled by Romina Herrera Malatesta photographed by Paul Mpagi Sepuya 228-231 Fashion Spotlight - Tim Richmond 94-101 Sarah Paulson: text by Alec Holland interviewed by Julia Szabo photographed by Nino Muñoz 232-241 Tali’s Petals: 102-111 Cody Simpson: text by David Gagliardi featuring Tali Lennox photographed by Dennis Golonka photographed by Dennis Golonka 114-119 Tham & Videgård: text by John Mascaro styled by Romina Herrera Malatesta photographed by Elisabeth Toll 242-249 Beautiful Creatures: 120-125 Cory Michael Smith: text by John David West featuring Joanna Stachiak, Mario Adrion, Cleo Cwiek, Martyna Budnqa, photographed by Ben Lamberty Sanna Backstrom, August Gonet & Elizabeth Salt 126-133 India Salvor Menuez: text by Ann Larsson photographed by Alex Straulino photographed by Hao Zeng styled by Romina Hererra Malatesta 134-141 Peter Vack: text by Danielle A. Jackson 250-259 Nature of the Boy: photographed by Dennis Golonka featuring Emiel 142-147 Venetia Scott: text by Madison Stephens photographed by Yann Faucher photographed by Venetia Scott styled by Adam Winder 148-153 Johan Svensson: text by Lisa Shapiro photographed by Richard Burbridge 260 the LAST project pg 260 154-161 Sam Claflin: text by Laura Antonia Jordan photographed by Maurizio Bavutti 260 Remembering David Armstrong & Mary Ellen Mark text by Dennis Golonka

46 WHAT DO WE DO? WE FLY! photographed by LUIS VENEGAS UPT 9 image courtesy Daniel Turner Untitled - bronze wool burnish, dimensions variable, 2013

18 DANIEL RADCLIFFE painting by KRIS KNIGHT the Editor’s note

As we celebrate the theme of nature in this issue of UTP, I’m reminded of one of my favorite poems by Keats -

THE HUMAN SEASONS

Four Seasons fill the measure of the year; There are four seasons in the mind of man: He has his lusty Spring, when fancy clear Takes in all beauty with an easy span: He has his Summer, when luxuriously Spring’s honied cud of youthful thought he loves To ruminate, and by such dreaming high Is nearest unto heaven: quiet coves His soul has in its Autumn, when his wings He furleth close; contented so to look On mists in idleness--to let fair things Pass by unheeded as a threshold brook. He has his Winter too of pale misfeature, Or else he would forego his mortal nature.

For this issue (our largest to date) we’re offering a quintet of covers featuring subjects as unique as the seasons themselves: actors Danielle Radcliffe and Sam Claflin, model Heather Marks, musician Cody Simpson, and Annamaria, a long time friend of artist/photographer Yelena Yemchuk, who has been shooting Annamaria,(and her mother), over the course of twenty years. We’re incredibly proud to be the first to present the series.

We’re also proud to present features on actress Sarah Paulson, artist Jock Sturges, and the award-winning screenwriter and activist Dustin Lance Black; as well as works by Malerie Marder, Tim Barber, Yann Faucher, and many others.

Lastly, we take a moment to remember two of UTP’S former collaborators, David Armstrong and Mary Ellen Mark. Phenomenal talent that will surely be missed.

Dennis Golonka -

UPT 11 the CONTRIBUTORS 1) Tim Barber - Barber grew up in Amherst, Massachusetts, lived for a few years in the mountains of Northern Vermont, studied photography in Vancouver B.C. and now lives in New York City. A photographer, curator and designer, Barber created and oversees the website time-and-space.tv, a curated community platform for artists. See more of his work at www.tim-barber.com 2) Matthew Jensen - Jensen’s work brings special attention to the experience of landscape, particularly how technologies have shied the ideas of access and travel. His photographs are in the permanent collections of the Metropolitan Museum of Art, Brooklyn Museum of Art and the National Gallery of Art among others. His series e 49 States, also about light and place, will be on exhibit at the National Gallery of Art on view through March, 2016. 3) Yelena Yemchuk - Yemchuk was born in Kiev. She studied at Par- sons School of Design in New York and Art Center in Pasadena. She started her photography career shooting music album covers as well as directing music videos. She has contributed extensively to: Vogue Italy, Vogue Japan, AnOther, Numéro, TAR Magazine, e New Yorker 1) 2) 3) among others. She directed her rst short lm, El Monte in 2010. Yele- na’s paintings and photographs have been exhibited around the world. She published her rst book, Gidropark in April 2011. 4) Nino Muñoz -Muñoz is known for his ability to capture the natural sensuality and classic beauty of his subjects. Nino is both a fashion and entertainment photographer. He has worked with major television networks and music labels. His work has been and continues to be featured on the covers of the world’s most prominent publications such as Vogue, Numero, ELLE, amongst many others. 5) John Mascaro - Mascaro is an artist living in Los Angeles. With Eleonore Morand he is the co-founder of Mut-Architecture. 6) Madison Stephens - Stephens is a writer and Japanese fashion collector. She devotes most of her attentions to Comme des Garçons, chocolate cake, the oeuvre of David Lynch, and the plight of contemporary agriculture. She lives in New York City. 7) Ben Lamberty - German-born photographer Lamberty hails 4) 5) 6) from the provincial countryside at the Dutch border, “amongst the cornelds.” A twin and the youngest of ve, fashion and photography were in short supply for Ben growing up. Nevertheless, as is an artist’s tendency, he found his inspiration where he could. ough his art initially expressed itself in drawing, one trip at age nineteen to New York with his father’s Rollei and Ben was hooked. 8) Kris Knight - Born in 1980 in Canada, Knight spent his youth in several farm towns in Ontario before relocating to Toronto to at- tend the Ontario College of Art & Design (OCADU) in 1999 where he received his Associate degree in 2003. His work has been shown globally over the past decade including exhibitions in Toronto, New York, Miami, Paris, Amsterdam, Copenhagen and Los Angeles and has been featured in numerous publications and public and private collections. He is represented by Katharine Mulherin Contemporary Art in Toronto, Spinello Projects in Miami and Galerie Alain Gutharc in Paris. Photo credit: Gucci/Jacyln Locke

9) Jock Sturges - Jock Sturges (American, b.1947) is best known for his intimate, arresting photographs, oen of nude adolescent girls erotically posed in nature. Born in New York City, Sturges studied at Marlboro College in Vermont, and later received an MFA from the San 7 ) 8) 9) Francisco Art Institute.

UPT 12 10) Luis Venegas - Luis Venegas, the Creative Director, Editor and Publisher of Fanzine137, EY! Magateen, Candy, e Printed Dog and EY! Boy Collection. Released as limited editions, available only in se- lected shops, boutiques and bookstores around the world.

11) Manuel Schibli - Swiss designer and art director Schibli ex- amines in his work the relation between classic, contemporary and subcultural aesthetics. He works between London and Paris and has a huge passion for printed matter and custom typefaces.” photo credit: Hendrik Schneider 12) Lucas Foglia - Foglia grew up on a family farm in New York and is currently based in San Francisco. He graduated with a MFA in Pho- tography from Yale University and with a BA in Art Semiotics from Brown University. His photographs have been widely exhibited in the United States and in Europe, and are in the permanent collections of museums around the world. He is represented by Fredericks & Freiser Gallery, New York, and Michael Hoppen Contemporary, London. 13) Dennis Golonka - Photographer, Creative Director and founder 10) 11) 12) of UTP, Golonka was raised in Maryland, and received his BA at TSU. Upon graduation he moved to NYC to pursue his education of art & photograhy while attending SVA. He was Photo Editor of Harper’s Ba- zaar and today works as a photographer and director. 14) Adam Winder - Stylist Winder was Born in Birmingham, Eng- land. He headed to London to study photography at London College of Fashion before exploring stints in art and creative direction. Finally settling on styling, he has been contributing to various publications 15) Elisabeth Toll Toll was born and raised in Stockholm. Before becoming a photographer, she studied archaeology, history, anthro- pology and law. Aer moving to Paris and assisting various photographers, she started on her own with a series of pictures taken of the French Foreign Legion. Her clients include Louis Vuitton, Bonmarché, Omega, Sisley, H&M, French and Swedish Elle, French, German and Russian Vogue, L’Uomo Vogue, Harper’s Bazaar UK, Bon, Stiletto, Man About Town among others and she has been exhibiting in France, Ger- many, Sweden and the USA. 13) 14) 15) 16) Hao Zeng - Hao was born in Beijing and traveled to the states when he turned four. He grew up outside of NYC, learning to paint and sculpt. Aer attending Berklee College Of Music, he moved to NYC and started picking up the camera. Today he shoots for various fashion publications such as Vogue, Bazaar, Interview etc. In his free time, Hao enjoys dancing, cooking, and eating. 17) Johnny Wujek - Wujek has built a career celebrating his anything-is-possible outlook. Such condence in his assignments has driven him to become creative consultant on America’s Next Top Mod- el, a trusted imaginative force behind shoots with David LaChapelle and other artistic contemporaries, and cra opulent costumes and red carpet looks for one of pop’s most beloved talents, Katy Perry. 18) Malerie Marder - Marder grew up in Rochester, NY and studied at Bard College completing a B.A. in History and Art. She received her M.F.A. from Yale University. Her work is in the permanent collections of e Metropolitan Museum of Art, the Solomon R. Guggenheim Museum in New York, the National Gallery of Art in Washington, D.C., the National Gallery of Victoria, Melbourne, e Seattle Art Mu- seum, and the Hessel Museum of Art at Bard College, amongst others. 16) 17) 18) the CONTRIBUTORS 19) Christophe Kutner - Photographer born in Narbonne, France, he moved to Paris when he was four years old. He rst studied medi- cine due to parental persuasions, but his passion for photography eventually led him to leave medical studies. He soon assisted Horst P. Horst who was a true mentor andinspiration in his pursuit to study the art and history of photography. 20) Julia Szabo - Szabo has written about culture and style for Tra- ditional Home, New York Magazine, e New York Times Magazine, Elle Decor, ArtDesk, and many other publications. As the daughter of an artist (Martha Szabo) and a former curator at the Metropolitan Museum of Art (George Szabo), Julia had no choice but to become an avid art enthusiast and sometime collector. e author of Animal House Style and several more books about animals and design, she’s at work on a new illustrated title about cruelty-free fashion; To learn more about her project, follow @getdressedchangetheworld on Insta- gram and Facebook (drawing) by Tolan Harris (collection of Julia Szabo)

21) om Lonardo - UTP’s Executive Editor studied lmaking at Emerson College before moving to New York as an actor. om cur- 19) 20) 21) rently lives in NYC and recently completed his latest screenplay e Tenants. 22) Tim Richmond - For over 20 years internationally acclaimed photographer Tim Richmond has photographed for major publications that include L’Uomo Vogue, Vogue, Vanity Fair, e Telegraph Magazine, Wonderland, World of Interiors amongst others, as well as making short lms more recently. He mainly lives in Somerset, in rural England 23) Sara Alviti - Sara Alviti is an on-set stylist and vintage clothing brand owner based in Los Angeles and NYC. Originally from Rome, Italy she moved to NYC at 19 to pursue her dreams. Starting her career collaborating with French Vogue, Wallpaper, W, NY Times Magazine, Lucky Magazine and Glamour US. On set with the most notable clients and photographers such as Patrick Demarchelier, Craig McDean, Da- vid Sims, Ben Watts and Dewey Nicks to name a few.

22) 23) 24) 24) Matt Brown - Matt Brown was born in the Mid-West, but spent the majority of his adulthood on the West Coast and eventually moved to NYC 3 years ago, which was the greatest decision he has ever made. He has been working in the photo world assisting, shooting, and pro- ducing for the last 10 years. He plans to spend many decades in NYC and a lifetime in the photo world. 25) Yann Faucher - Faucher is a photographer based in London. photo: Megan Mcissac 26) Maurizio Bavutti - Bavutti’s interest in photography began while studying cinema in Spain. Aer completing his studies in 2006 between Italy, Spain and England, he nally settled in London, focusing on photography while attending a postgraduate course at the Uni- versity of Arts, London. In 2007, Maurizio met the photography duo Mert Alas & Marcus Piggott, for whom he would go on to assist for 4 years. Now based in New York City, Maurizio has been heralded by e Business of Fashion as one of the “10 Young New York Creatives Shaping the Future of Fashion”. 27) Laura Antonia Jordan - Laura is a freelance writer and editor based in London. She has writes about style, art, beauty and culture 25) 26) 27) for titles including British Vogue, AnOthermag.com, Harrods, Emirates Woman and Style.com. Laura is currently working on her debut book.

UPT 14 28) Romina Herrera Malatesta - Malatesta is from Buenos Aires, Argentina and currently lives in New York City with her daughter Lou- Lou. Romina is UTP’s Fashion Director and the Senior Fashion Editor of Metal Magazine. She has contributed to magazines such as US Marie Claire, Commons & Sense, Twin, Interview Russia: styled campaigns for Neiman Marcus e Book, Saks Fih Avenue, e New York City Ballet and Phillip Lim for Target. 29) Paul Mpagi Sepuya - Sepuya is a Los Angeles-based artist working in photography, installation and publishing known for his intimate portraiture. A Southern California native, he lived and worked in New York City from 2000 - 2014. His artwork has been exhibited internationally in North America and Europe, and is in the permanent collection of the Guggenheim Museum, New York. His most recent monograph, Studio Work, was published in 2012, and he is currently an MFA Candidate in Photography at UCLA. 30) Lisa Shapiro Dotson - Dotson is a freelance art director. She lives in Chelsea with her husband and three girls. 31) Richard Burbridge - Richard Burbridge’s technically ambitious 28) 29) 30) photography explores the alchemical properties of the medium. Trans- forming his subjects Burbridge subverts the expected. Based in New York for twenty years, his work covers fashion, beauty, portraiture and still life, and is regularly published in Italian Vogue, Dazed & Confused and e New Yorker. His advertising clients include Tom Ford, Chanel and Cartier.

32) Wayne Northcross - Contributing Arts Editor Wayne North- cross has produced art and fashion features for Un-Titled Project, e New York Observer, Vogue Hommes, and Esquire. “I have rarely been able to focus exclusively on one discipline or interest. I have always found it much more fullling and exciting to merge contemporary art with dance, lm, and fashion.” As an independent curator, he has or- ganized exhibitions for the Fusebox Performance Festival in Austin, Texas and the Bronx Museum of the Arts. Currently Wayne is chief consultant for ArtKapsule, an art advisory rm. Wayne lives and works in New York City. 31) 32) 33) 33) John David West - Born and raised in Indiana, John lives and works in New York City. He is the creator and managing editor of MovieedNYC.com, an online journal dedicated to lm and television. He received an MFA in Creative Writing from e New School in New York and BS in Music Business Administration/ eater from Indiana State University in Terre Haute, Indiana.

34) Paul P. - Paul P. is an artist primarily based in Paris. His work is included in the collections of the Museum of Modern Art, New York, e Whitney Museum and e Brooklyn Museum, among others. 35) Alec Holland Holland is a writer and interior design fanatic. He was a writer/producer on Logo TV’s e Big Gay Sketch Show, and writing consultant on the Fox animation lms Rio and Ice Age IV. ese days, Holland is focused on making interiors beautiful. He is currently working on the design show Eyesore! With Rachel Dratch & Alec Holland. Website: alecholland.com. Twitter: @smarteralec Instagram: THESMARTERALEC. 36) David Gagliardi - David Gagliardi is a twenty-something New York-based musician and writer. 34) 35) 36) the Art project Un Titled Project the ART project

TRAFFIC CAM SUNRISE artwork Matthew Jensen text Wayne Northcross ANNAMARIA photography Yelena Yemchuk LUCAS FOGLIA photography Lucas Foglia text Wayne Northcross WHAT DO WE DO? WE FLY! photography Luis Venegas BLUES photography Tim Barber ARISTOTLE’S YOUTH illustrations Paul P. JOCK STURGES photography Jock Sturges text Dennis Golonka

UPT 17 Traf c Cam Sunrise

artwork by Matthew Jensen edited by Wayne Northcross ART PROJECT - JENSEN

UPT 19 HAWAII

UTAH NEW HAMPSHIRE

TENNESSEE

UPT 21 WYOMING

UPT 22 VERMONT UPT 24 Annamaria ART PROJECT - YEMCHUK

A series 20 years in the making, simply titled Annamaria. featuring ANNAMARIA & her mother RENATA

photography by Yelena Yemchuk UPT 26 UPT 27 UPT 28 UPT 29 UPT 30 UPT 31

UPT 33 UPT 34 UPT 35 UPT 36

UPT 39 art FEATURE project Lucas Foglia

photography by Lucas Foglia text by Wayne Northcross

Conceptually and formally urban and rural spaces speak in distinct and familiar visual codes and styles. Betwixt and between what one would consider a proper rustic scene, such as an expanse of valley, snow- peaked mountain ranges, or a cluster of cattle, there exist border towns, metaphorical spaces, where a fac- tory looks quite at home on the prairie or the eects of industrial drilling can appear to be acts of beauti- cation. In these real and metaphorical locales, in this clash of cultures Lucas Foglia presents vivid scenes of an American West that is experiencing social, physical and interpretative transformations. Foglia’s series Frontcountry in particular reveals structures, networks, and communities that share and occupy intersectional spaces in which dislocation, industrialization, migration, land use, and shiing cultural identities change expectations and notions of town and country. ART PROJECT - FOGLIA PROJECT ART

Wayne Northcross: Frontcountry, the title of your latest series of photographs of the American West, implies a geographical divide or border. How did you come up with the title?

Lucas Foglia: Frontcountry is what backcountry guides call the edge of town, as you hike in. It’s the boundary between people and wild areas.

WN: Considering both Frontcountry and A Natural Or- der, your previous series that features communities of ex-urbanites living o the grid, I began to think about how concepts such as “new pastoral”, “back-to-land movement” and “anti-urbansim” play against images of dein- dustrialization and decline in cities. Do you feel that you are illustrating this trend in your work?

LF: People need to sustain themselves in order to live. In A Natural Order I photographed people in the rural Southeast- TOMMY TRYING TO SHOOT COYOTES, BIG SPRINGS ern United States who build their homes from local materi- RANCH, OASIS, NEVADA 2012 UPT 40 “When a mine closes, the company closes, a mine “When leaves and people have to move. day Miners are the modern nomads.” “

COAL STORAGE, TS POWER PLANT, NEWMONT MINING CORPORATION, DUNPHY, NEVADA 2012

als, obtain their water from nearby springs, and hunt, gather, here. Railroad ocials named it Tobar because a sign at the or grow their own food. In Frontcountry I photographed Western Pacic Railroad station said ‘To Bar’ with an arrow. people in the rural American West who worked on farms or A local hotel owner put out advertisements that said Tobar, ranches, or for mining corporations. Nevada was ‘Home of the Big Apple.’ Almost 500 farmers moved here. ey couldn’t grow apples in the desert without WN: Similarly your photographs seem to suggest ways in water, so most eventually le. e last business closed in the which social and economic environments are constructed, 1940s, and it was quiet all the way until 1969 when a railroad broken down and transformed over time. Implicit in im- car of bombs on their way to Vietnam exploded a mile west ages of aggressive mining, drilling, and ranchers engaged of town. Aer that,” Cli wrote,” it was quiet again until Pat- in more traditional forms of production is an idea that tie and I moved here in 1981.” urban or industrial production has a negative impact on rusticity. Are you optimistic or pessimistic about the fu- e landscape I photograph has been marked by generations ture of pastoral life in the face of these changes? of booms and busts. I’m optimistic that people will be able to live in the region in the future. e question I ask is how LF: Cli Teel, a Nevada rancher who wrote the introduction can we live better, and how can we conserve the land in the to the book said: “In the early 1900s, the town of Tobar was (wild) West that still feels wild?

UPT 41 HERMAN GETTING WATER FOR CATTLE, SIEMS RANCH, MERNA, WYOMING 2010

UPT 42 “ WN: To produce Frontcountry you traveled to Idaho, Mon- tana, Nevada, New Mexico, Texas, and Wyoming. What “I want my photographs to compel viewers to led you to choose these locations? ask questions, to look longer.” LF: Friends of friends of friends.

WN: ere is almost a collective sense of what rural and natural should look like, that a rustic style certainly di ers from the urbane. Do you think that the rural/urban divide is a cultural or geographical ction?

LF: e cultures can be, in my experience, as dierent between rural New York and New York City, as the cultures are dierent between New York City and Tokyo. Rural, in the United States, is both cultural and geographical. at being said, the rural landscape is shaped, physically, by government and economy. How much water a farmer or rancher can use is determined by government. Whole towns are built or abandoned in response to the opening or closing of a gold mine, which is in response to the price of gold.

WN: How have your travels informed your own experience? You grew up in rural New York, in an environment in which you experienced a tension between what is natural and technological.

LF: As I grew up, suburban houses, malls, supermarkets developed around my family’s farm. Still, we heated our house with wood, farmed, and canned our food. In many ways that lifestyle was my earliest inuence. Photography allows me to tell stories about people, and about their connection to land. My photographs, I think, both describe and question the val- ues of the place I come from.

WN: As a Detroit native I am struck by how its urban landscape has become dramatically altered by economic changes, dislocation and migration out of the city, and by innovative use of land. It’s as if urban space is receding and a pastoral sensibility has taken its place. Do you see analo- gies to urban decline and pastoral encroachment in your photography?

LF: I expected cowboys to be nomads, herding animals over a wild landscape. I learned pretty quickly that most ranchers had homes and mortgages. I also learned that every mine closes eventually. When a mine closes, the company leaves and people have to move. Miners are the modern day nomads, following jobs across the country. Is that urban?

AMANDA AFTER A BIRTHDAY PARTY, JACKSON, WYOMING 2010 WN: Juxtaposing scenes of undomesticated naturalism with images of mining and aggressive use of land, you suggest that ideas like rural and urban or industrial and pastoral blur or bleed into each other.

LF: In many ways, yes. I want my photographs to ‘blur’ boundaries; to question what we expect to see.

WN: Do you want the viewer to come to your images with an understanding of the backstory, know the locations or be familiar with its geography and history? Are A Natural Order and Frontcountry ctive narratives or documenta- tion?

LF: I want my photographs to compel people to look. I like the idea that viewers can bring their own stories to my photographs. I want my photographs to compel viewers to ask questions, to look longer. I think of the projects as creative nonctions. I like to spend time with the people I photograph, to stay for long enough to take part in everyday life. My favorite photographs take casual moments and make them seem extraordinary.

WN: I am intrigued by the formal, almost balletic poses of the cowboy and ranchers in FrontCountry. Are they posed or have your captured them in these positions?

LF: at photograph was candid. I am not against a photograph being posed though, as long as it seems real. I always work from the events that are happening around me, and I don’t make things up from scratch because I think the world is smarter, more complex and far more beautiful than the things I can come up with in my head.

( e End )

TOP: NAUGHTON POWER PLANT, PACIFICORP, KEMMERER, WYOMING 2010 BOTTOM: DAKOTA, MICHAEL & JESSE, BRONCO RIDERS, EUREKA COUNTY FAIR, EUREKA, NEVADA 2012 GOLD PROCESSING, NEWMONT MINING CORPORATION, CARLIN, NEVADA 2012

photographs by LUCAS FOGLIA, courtesy FREDERICKS & FREISER GALLERY, NEW YORK CITY

UPT 45 ART PROJECT - VENEGAS What Do We Do? We Fly! photography by Luis Venegas UPT 47 UPT 48 all clothing: CALVIN KLEIN all clothing: CALVIN KLEIN

UPT 51 RECYCLE number 11

UPT 52

ART PROJECT - BARBER PROJECT ART

BROKEN GLASS HERRON

UPT 54 Blues

photography by Tim Barber

HERRON BIRDS AGAVE BOY

UPT 57 UNDERWEAR

UPT 58 BLINDS POND SILHOUETTE SILHOUETTE FLOWERS

UPT 61 ART PROJECT - PAUL P. Details of the sculpture titled La jeunesse d’ Aristote otherwise known as Aristotle’s Youth

artwork by Pau l P.

Paul P., Untitled, 2014, ink on paper, 30 x 22 cm. Courtesy Broadway 1602, New York. Paul P., Untitled, 2014, ink on paper, 30 x 22 cm. UPT 65 Paul P., Untitled, 2014, ink on paper, 30 x 22 cm.

Courtesy Broadway 1602, New York

UPT 66 Paul P., Untitled, 2014, ink on paper, 30 x 22 cm. art FEATURE project Jock Sturges

photography by Jock Sturges text by Dennis Golonka Sturges’ ability to capture unstudied, un- posed, natural gestures is remarkable. His photography conveys a quiet warmth and beauty, creating moments of true peace. He prides himself on the bonds of trust, friendship and collaboration between the photographer and model. e admiration and respect he shows for his subjects shines loudly through his works.

Sturges shared a note he recently received from one of his models, Eva (photo to the right). It’s a glimpse into Eva’s memory from the day of the photoshoot; along with her thoughts on the image today. It shows the respect Sturges has for his subjects is one of mutual admiration.

anks for pulling out the image of me that one of your friends beautifully described as the ‘water spider’ image; it made my day! I was scrolling through the Facebook timeline inattentively when BAM, all of a sudden I saw my own face. I nd it hard to describe what exactly struck me so much, but honestly, it made me tear up a bit. Maybe it was the serenity of my own face, or the remembrance of a time in my life that, now that I look back at it, felt so warm and peace-

ART FEATURE PROJECT - STURGES PROJECT FEATURE ART ful – the day this picture was taken, especially. It also could be that I was struck by seeing how beautiful I look, something that I don’t really see in myself in daily life. I also just haven’t seen this picture in a while. All the pictures hanging in my parents’ house I know very well; I can dream them with my eyes closed. But the vast majority of the pictures you took, are not hanging up on the walls to see all the time. ey are carefully led in the albums my mother made. So maybe it was the shock of running into ‘someone’ I know “Montalivet, France, 2012” very well, but haven’t seen in a long time. But I think that is just the beauty of the photographic medium. Aside from the personal memories and feelings attached to it, it is just a marvelous piece of art (and that is coming from a gradu- “ ated art historian! ) e light on my face and hair, the super “To borrow from Hippocrates, I want to do more strange composition, the so tones, the balance between my stretched arms and held up hair, which is then subtly broken than no harm. I want the work to be a reifying, by the falling strand of hair – giving the image a certain liveliness that makes it look as if I could just open my eyes, positive good in the lives of my subjects.” stand up and move on. Mysterious! I could daydream about this endlessly.

“Eva; le Porge, France, 2003” UPT 68 Magic Forest

“Eva; le Porge, France, 2003” UPT 69 DG: When did your passion for photography rst begin?

JS: At about age 7. One of my older brothers had been given a good, folding Polaroid for Christmas and I was fascinated by it both as a machine and as means of keeping people. at was the very beginning of it for me. My intent and strategies would deepen shortly thereaer in the boys boarding schools and summer camps I would at- tend from age 8 on.

DG: You rst took nudes when you were about 22 years old, but then stopped for almost 10 years aer taking a feminist workshop. What made you return to working with nudes and what role does Feminism play in your work today?

JS: To this day I consider my luck in nding myself in that workshop one of the most important and useful accidents of my education. I was in Minneapolis/St. Paul doing a month-long workshop on alternative education when the organizers bounced us into a short feminist workshop just to mix things up. I was fresh out of the Navy and pretty ignorant of most aspects of feminist thought so I was taken largely by surprise - but in a good way! e whole notion of pictures doing harm because of their tendency to objectify was a new thought for me. e experience also helped me understand that my motives in doing the few nudes I was then doing were largely hormonal as opposed to intellectually defensible. Years later the American crit- ic, Alan Coleman would describe me as having a strong “Marine, Flora and bike; Montalivet, France, 20014” feminine aspect. at thought struck a chord with me not least of all because it went a long way towards helping me understand why feminism had so easily become such an “ important inuence on my thinking earlier on.

In fact, I like the women I photograph – not just because “This picture just happened on its own. I saw they are the opposite sex, but because the conversation to be had with them is much more interesting to me than this and said, ‘Bitte schön, nicht bewegen!’ discussions full of repartee and cars and sports. Reading this should make it easier to understand why it is of such and made the picture quickly. Unremarkable. importance to me that the photographs be at least as valuable to the models as they are to me. To borrow from Hip- I do remember leaving a bit of the bike in to pocrates, I want to do more than no harm. I want the work imply a larger world and texture.” to be a reifying, positive good in the lives of my subjects.

UPT 70 “Eva; La Jenny, France, 2004” DG: What are the elements you desire to make the ideal photograph?

JS: In descending order of importance, relationship, relationship, relationship followed by good light and a useful ground. It has, as well, to be the right moment for us both, model and photographer.

DG: Tell me a bit about what inspires you?

JS: Painting, sculpture, good music, good literature, and, a distant fourth, photography. Looking at the work I like in paint is the pinnacle art experience for me. I am fascinated by the well-balanced and descriptive precision of the Bruegel’s, by the true if sometimes bitter line of Egon Schiele’s portraits and nudes, by the arrogant eloquence of the young Picasso, by Francis Bacon’s massive success in expressing a hideous self, by the Chauvet cave paintings in the Ardéche, by Velázquez and Dürer and Goya, by John Singer Sargent when he was painting people he liked, by the audacity of Delacroix. I love Faulkner, Nabokov, Mark Helprin, William Vollmann, Tom Robbins, Prokoev, Benjamin Britten, Mahler, Dvorak, e Roche Sisters, Tesla, Sally Mann and Alain Laboile. In fact, this list is almost pointless because it is so vastly incomplete. I will just say this: as in all the arts, photographic art manifests the mind behind it. e more one knows (and loves!), the more eloquent the work resulting. “Fanny; le Porge, France, 1995”

DG: e theme of this issue is based around Nature and Series of four: Sturges’ daughter Fanny from 1995 until 2015

Naturalism. What role does nature play in your work? “Fanny; le Porge, France, 2001”

JS: My best pictures derive from the real. I see someone doing something that is unstudied, un-posed, just a natural gesture/posture if you will, and that is where I nd my image. e less I have had to do with what happens, the better. For me it is the natural, the awkward grace of simply being human that attracts me most. I love looking at an image and being able to say, “I could never have thought of that!” I prefer to work in the natural world whenever possible. It is my ambition to work with the nude in a natural setting where location and the lack of costume work to obscure the date, the era, time itself. e hope is to make pictures that somehow access essential human truths suspended in time. at aims a little high, I know, but better too much ambition than not enough…

DG: Your art oen consists of making portraits of people over a long period of time. One beautiful example of this is the series of Fanny from childhood to pregnancy. Tell me how this idea of long-term collaboration came about?

UPT 72 JS: is idea didn’t “come about” per se. e work itself led me to it. In the early seventies when I rst took up the big camera, I gradually became aware that my best pictures were of the people whom I knew the best and had been photographing the longest. e better I knew someone, the better the pictures. While this seems boldly self-ev- ident, it was an epiphany for me. I also felt that anyone worth photographing once was worth returning to. Born into a family largely devoid of emotional connection, I had a hunger for being cared for and about – and to be the kind of person invested in the habit of caring as well. My work was and remains a symptom of that larger need.

DG: You once said, “e most important thing in my work is an absence: the absence of shame.” It’s a powerful statement. Can you elaborate?

JS: A trip to visit my brother in the mountains of North- ern California led to a visit to a commune called Black Bear. It was mid-January and there was quite a lot of snow so you can imagine how startled I was to discover about y naked people casually standing around when I drove “Fanny; le Porge, France, 2004” up. It happened that they were all taking turns in a home- made sweat lodge. My East Coast upbringing had not prepared me for a social milieu where dress or undress “Fanny; le Porge, France, 2015” simply didn’t matter. Amongst other images I did that day was a single nude of a young girl sitting in a doorway, “Fanny; le Porge, France, 1995” cooling o from the sweat in a slice of clear winter sun. Her innocence was informed by a complete absence of shame or embarrassment of any kind. is was my rst

“Fanny; le Porge, France, 2001” glimpse of a purity of being that has been my holy grail ever since. at one picture changed my life.

Shame, I now know, is a learned response and one that does not serve homo sapiens well. In social systems where it has been the most prevalent, we see the greatest incidence of crimes against women and children whom shame keeps silent. I admire this in no aspect.

DG: In the 90’s you went through a horrible Federal in- vestigation concerning your work. ey say sometimes good things come from bad situations. Did anything good come out of that experience for you or your art?

JS: Once I got over being terried and turned to a useful anger, I found myself possessed of and by an articulate indignation that has lasted. While this can make me lam- entably earnest on occasion, it remains as an enduring de- fault. Whether this is a good thing is not for me to say. But I will say that I enjoy the fact that I am no longer afraid of public speaking… “Montalivet, France 2013”

UPT 74 DG: You’ve stated that a good deal of your ere is such a lovely, surreal poetry to life if it is simply our children who play in front of us, tempting the waves time as a photographer is dedicated to the social le alone. Amen. and running and squealing as they suddenly wash in, work that makes the photograph possible. Why is we are not living a sexual moment. We are living a hu- this such an important component in your work? DG: Who are some of the artists working in the world man moment. Because of the lack of clothing clues and of nudes that interest you today? status symbols, we are all equal beneath the sun. All that JS: e better you know your models, the more likely matters is our character, who we are, who our children you are to make a picture that is “true”. In my personal JS: I’m blocking on this one. ere are a couple of Rus- are, what we know and care about. ere is nothing sexy lexicon, this truth is what one arrives at by virtue of sians I like but I can’t remember their names. E. Weston about this at all. Yes, there is beauty there. ere is also luck and grace and a long relationship. While it has is my main inuence. Sally Mann of course. truth. everything to do with a shared trust and appreciation, DG: How do you dene beauty? it just as importantly is about understanding what the ( e End ) pictures mean. at understanding is only possible by dint of long experience of one another. JS: Beauty means nothing to me unless it is informed by So, we eat together, our children play together, we visit an interesting and interested intelligence and kindness. and help each other as need arises. We are friends. And e surface does not endure aer all but good character then we collaborate. Beyond resulting in the kind of is good for life. pictures I like making, having these ne friendships are a wonderful way to live. My pictures are in fact but a DG: Upon your advice we are running the image of symptom of this far larger poetry. Eva in the water upside down. What made you suggest this? DG: What is the biggest di erence when working with young models as opposed to older ones? JS: My 8x10 is a view camera – a type of camera in which the image appears upside down on the ground glass. In JS: Younger models have fewer preconceptions of how most cases this is an advantage as one is less distracted pictures will look and rarely much in the way of vanity. by social information and can more readily concentrate Older models bring more in the way of expectation to on composition and light. But once in a long while the the game. ey are more likely to worry about what I inverted image has such graphic appeal that it can actu- “Montalivet, France 2013” want from them and how they will look. But when I ally be dicult to tear oneself out from under the dark have worked with a model from childhood through to cloth to put lm in the camera and make the picture. adulthood and on, this rarely happens. ey learn over is image was such a one. Apart from that, it is also time that my best pictures are all about accepting what interesting that this picture was not what we planned is real from them and for this they do not have to do at all. e model’s mother was holding her daughter’s anything but remain themselves. hair up in the air with the intention of oating it on the water. e picture we had envisioned would have been DG: I imagine each photo must conjure up many an image of her face surrounded by a cloud of hair. But memories. Is there a story you can share behind the when I went under the dark cloth to do my initial focus two girls holding the feet? in preparation for that picture, this one presented itself. Such a gi! JS: e feet belong to the sister of the girl on the right. e child on the right is my daughter. I have been work- DG: For me, your photos show innocence and evolu- ing with this particular German family (whom I like tion, others may see eroticism or sexuality. What do very much) for only three or four years so we are still you see when you review your work? in the early stages of achieving mutual trust. is shoot was my rst of them last summer and, typical for how I JS: I rarely, if ever, see eroticism – nor do I want to. It work, I chose a place they were already playing and set has never been my intent or my focus, and in any case the camera up and pretty much let them do whatever would be inappropriate in images of young people. But they liked. So this picture just happened on its own. I it would be disingenuous to say that the models are de- saw this and said, “Bitte schön, nicht bewegen!” and void of a natural sexuality. It is there of course but it is made the picture quickly. Unremarkable. I do remem- only a single aspect of the complex human whole that ber leaving a bit of the bike in to imply a larger world is my subject in photography. Americans so oen con- and texture. Subtle me. Not sure if it works though… ate nudity with sexuality. Standing naked by the sea But the overall composition, this is what children do. with friends and discussing our lives and the lives of the NATURALIST project

DANIEL RADCLIFFE text by Laura Antonia Jordan painting Kris Knight art direction Lisa Dotson photography Dennis Golonka styling Romina Herrera Malatesta DUSTIN LANCE BLACK text by Thom Lonardo photography Paul Sepuya styling Sara Alviti SARAH PAULSON text by Alec Holland photography Nino Muñoz styling Johnny Wujek CODY SIMPSON text by David Gagliardi art direction Lisa Dotson photography Dennis Golonka styling Romina Herrera Malatesta

THAM & VIDEGÅRD text by John Mascaro photography Elisabeth Toll CORY MICHAEL SMITH text by John David West photography Ben Lamberty styling Romina Herrera Malatesta INDIA SALVOR MENUEZ text by Ann Larsson photography Hao Zeng styling Romina Herrera Malatesta PETER VACK text by Danielle A. Jackson photography Dennis Golonka styling Romina Herrera Malatesta VENETIA SCOTT text by Madison Stephens photography & styling Venetia Scott JOHAN SVENSSON text by Lisa Dotson photography Richard Burbridge SAM CLAFLIN text by Laura Antonia Jordan photography Maurizio Bavutti styling Romina Herrera Malatesta

Un Titled Project the Naturalist project Daniel Radcliffe painting Kris Knight text Laura Antonia Jordan photography Dennis Golonka styling Romina Herrera Malatesta You know how this script tends to go; preco- cious child becomes child performer becomes child star. art direction Lisa Dotson Child star becomes phenomenally famous and indecently wealthy. Child star’s childhood is more about press jun- kets than the playground. Child star experiences belated adolescence and goes o the rails in epically messy, tab- loid fuelling style: cue smirk-smeared mug shots, ‘WTF?’ relationship choices and a quickstep in and out of rehab.

Except that’s not how it panned out for Daniel Radclie. Aged 11, Radclie was catapulted into the name leagues of stratospheric fame when he was cast as the lead in mega-franchise Harry Potter, something that only increased as he grew up on screen over the course of eight lms. A blessed position of course, but one that could justi- ably send anyone a little bonkers (and, let’s be frank, what teenager wouldn’t? I’d be worried for myself if I saw my adolescence in print). And yet, Radclie has remained about as normal as you can get in very not-normal circumstances (his Potter co-stars Emma Watson and Ru- pert Grint are also narrative eschewing in their level- headedness; something went very right on those sets).

But perhaps Radclie’s biggest feat is that, now aged 26, he’s managed to forge a career as a character actor who isn’t shackled to a role so deeply ingrained in pop culture (not that Potter, as he aectionately calls it, is o-bounds

NATURALIST PROJECT - RADCLIFFE PROJECT NATURALIST either; there’s a gratitude implicit in Radclie’s amenabil- ity, that he’s well aware that playing such a cherished part has also given him a lot of freedom). Post-Potter choices are as unpredictable as they are interesting; a troubled teen in Equus and Cripple Billy in e Cripple of Inish- maan, both on the stage, with parts on screen as diverse as Allen Ginsberg (Kill Your Darlings), a blink-and-you- miss-it tongue-in-cheek turn in Trainwreck, and as Igor in Victor Frankenstein on lm. Not to be second-guessed, when I spoke to Radclie in August he was in the middle of lming indie-pic Swiss Army Man, apparently about a man who befriends a dead body. Well, if anyone can y in the face of typecasting and cliché, it’s Radclie, throwing in his own plot twists every step of the way.

turtleneck & trench: MARC JACOBS

photographed in New York, NY UPT 78 LAJ: So you’re in LA at the moment lming, how’s that going?

DR: I’ve never actually worked in California before. I’m doing a job called Swiss Army Man with Paul Dano and a pair of directors, called the Daniels. I’m having a great time. It’s one of the most creative things I’ve maybe ever worked on. It’s a small lm racing to get things done, but in its ambition it feels huge which is really exciting.

LAJ: You’ve been very bold in your choice of roles; I wondered how you go about choosing them?

DR: To be honest I’ve reached the point now where I just choose the things that I think are going to make me the happiest to do. I want to work with people that I’m going to learn from. Be- cause I had such a fortunate career to start o with there was never a huge sense of pressure aer Potter nished to do movies that are as big as that all the time. I felt like I’d done [big movies] for ten years, and they’re great, but it’s fair to say that the stu that excites me the most, most oen are crazy, tiny projects.

LAJ: I read somewhere that someone said you picked weird roles and you took that as compliment, can you elaborate on that bit?

DR: I think by weird they meant unexpected, and I think it’s a great thing not to be predictable. I can only infer by the questions I get asked about the roles I choose that people expected me to have a much more boring career by now, so I take it as a compliment.

LAJ: I feel that you choose things for yourself, but, you’re saying about people’s expectations, do you feel that you battle misconceptions?

DR: I don’t think so much anymore, I don’t feel particularly like I’m coming up against peoples’ pre-conceived notions of me anymore than anyone else in the industry does. I may have had that a bit once, but because I did Equus I think that sent a signal to the industry that I was up for doing dierent stu. And as much as some people would still think ‘Never mind that, he’s

Daniel Radcliffe by Kris Knight 2015 UPT 79 only ever going to be Harry Potter’ there was an equal num- with Michael Caine and everybody talks about him with this ber of people who had the opposite reaction, like [director] incredibly reverential love. It’s wonderful to watch him on set, John Krokidas who saw me do Equus cast me in Kill Your a man in his eighties, and he still loves it. I was on set with Darlings because he’d seen I was up for trying challenging him doing long, cold night shoots where actors half his age and potentially vulnerable roles. It made people know I was would have been complaining bitterly and he’s there laughing willing to try other stu and that I think has paid dividends and joking. He was very inspirational. e person who in re- in terms of people giving me the opportunities. Frankly it cent years I have talked to the most about in the industry and suits me that people think I have slightly weird tastes as it I’ve learnt a lot from is John Krokidas. Since making Kill Your means that the scripts I get sent tend to be really original be- Darlings he’s become a really good friend of mine. I write and cause people know that I won’t dismiss them as slightly mad. he’s been helping me with my writing. Yes, I would say he’s denitely been a mentor. But, don’t print that, it will go to his LAJ: I saw you in Equus in London and I thought it was head! [LAUGHS] terric… “ LAJ: Do you ever get star struck? DR: Awesome, thank you very much “I’ve always DR: Absolutely, particularly with comedians but it’s prob- LAJ: It was a very brave thing to do. Do you deliberately had a sense of ably worse with musicians. If I love and respect your music seek out roles that will take you out of your comfort zone, I want to tell you that immediately. Some people aren’t great or ones where you’ll learn something, or is it just a case of I’m really lucky at taking compliments and I feel sometimes I’ve been far too ‘fuck it, that one sounds fun’? gushing. If I like you I’m going to tell you intensely what I like to be here. I about you and what you’ve meant in my life! [LAUGHS]. e DR: Sometimes it’s a case of I really want to be a part of this, person I most got star struck by was Tom Lehrer, the guy who and then I have to work out how the fuck I’m going to do love it, and I wrote ‘ e Elements’ song and a bunch of other amazing, it! Like when I was doing e Cripple of Inishmaan, I loved very funny songs from the ‘60s era and then became a math- the part initially and then had to learn an Irish accent and want to work ematician. It’s very, very geeky but I grew up on his music. embody the physicality. I didn’t know how to dance until I When Jarvis Cocker was in the Potter lms I’m pretty sure did a musical, and there’s nothing that will incentivize you to really hard and when I met him I just made an arse of myself, being 14 and so learn to dance quickly than having an upcoming musical on eager to impress but also trying to be cool and funny. Oh god, Broadway! I do enjoy challenging myself but it’s not like I’m make sure I can I cringe at my 14-year old self! trying to nd the hardest thing I can, more that I nd the thing I like the best, and oen that comes with something continue doing LAJ: I feel you’ve grown up in front of the cameras in two else I have to do. ways; you learnt on the job and you’ve had your every move it.” scrutinized. Obviously you’ve lived an extraordinary life, LAJ: Has there been anyone you would consider a mentor? but it’s your ordinary, right?

DR: I’ve been really lucky getting to watch people when I was DR: Growing up on camera I don’t really think about it at younger. Like Gary Oldman was very inuential to me on all. at’s not my life; it’s a by-product of my life. Because I the Potter set, as were David ewlis and Imelda Staunton, don’t watch the lms I’m not being constantly confronted by but whether or not they realized it, I don’t know. how young I was or how shit at acting I was or whatever I might feel if I watched. What felt normal to me growing up LAJ: Well I suppose you had access to the best of the best, was being on set every day. I was having a conversation with didn’t you? another actor who started very young recently and we were both saying how you meet a lot of people on lm sets whose DR: Yes, and recently I got to work with Michael Caine, knowledge of lm is phenomenal and it’s their love of it that which was just phenomenal because when you’re in the Brit- took them into the lm industry, whereas I got into lm aer ish lm industry from a young age, everybody has worked I’d been doing them for some time. I don’t mean that to sound

UPT 80 sweater: MAX SNOW pants: ALL THAT IS LEFT boots: RAG & BONE courtesy of CLOAK WARDROBE sweater & coat: MAX SNOW UPT 82 conceited, it’s just that I fell in love with the process of making lms before I fell in love with lms themselves. e process of being on set everyday is absolutely my normal. e thing that is very hard to explain to people because I just don’t think they believe it, is that it’s probably the most normal and regular I feel because it’s the one place, even though you’re an actor and everyone knows you’re an actor, nobody really gives a shit because everybody sees loads of actors all the time! Being part of cultivating an atmos- phere on set which is collaborative, fun and where you help remove some of the hierarchy, is why I love it. It’s the most fun place in the world when it’s good.

In terms of growing up with the paparazzi, that doesn’t feel normal, that never will feel normal. In fact it’s felt less normal as I’ve grown up and it’s aected more people in my life. But it is what it is and a lot of people have it a lot worse than me because I am a man and it’s just part of the job now.

LAJ: I think it’s very interesting what you say about being a man.

DR: Yes, women have it so much worse from the paparazzi; it’s not even close. I was going into a building recently and as I was approaching I wondered why the paparazzi were there. I knew they weren’t for me because there was no chance in hell they’d know I’d be there. As I was walking in Cara Delevingne was leaving and these two dudes – and we’re talking heavy-set guys in their 30s and 40s – suddenly rush up to her with cameras and shouting. In what other context is that ne? Recently in New York, there’s been a surge in paparazzi activity around where I live, so they got loads of fantastically mundane photos of me and Erin, my girlfriend, shopping.

LAJ: What’s really funny is that everybody is so desper- ate to be famous in their own little way. at’s the thing about social media, it’s people acting like celebrities in their circle. Are you able to take the silliness of it all with a pinch of salt, the side that’s about you as a person rather than you as an actor?

UPT 83 DR: Yes, it’s part of my job to give interviews so I can only LAJ: Do you feel older than your years? Do you feel like complain so much about information getting out there about an old soul? myself. Especially when I was doing Potter, what always kept things in perspective was knowing that all of the craziness DR: Umm. I used to get told that a lot when I was younger would be happening to anyone who played Harry Potter. It but I think that’s more about how only children can seem wasn’t because of me; it was because of the love people had more mature. But I feel 26 now. Maybe I’m regressing, I’m for those books. at always helped me remember it was going upwards physically and backwards mentally and I’ve something I was incredibly lucky to be doing, rather than met now in the middle! something that I felt entitled to. LAJ: Speaking of being a child, did you have a light bulb LAJ: at’s a really good way of looking at it actually. moment of ‘at’s what I want to do’?

DR: I think so. I’ve always had a sense of ‘I’m really lucky to DR: Yes, but not when I started doing lms. It was probably be here. I love it, and I want to work really hard and make more like on the third lm. sure I can continue doing it.’ People whose careers exist on their celebrity, I honestly don’t know how they do it, because LAJ: Oh really? those are all the parts of my job that I have to do for my job but they aren’t the things about my job I love. Whereas for DR: Before that it was really good fun, but I wasn’t taking it some people that aspect of it is very attractive, but I will never that seriously, because you’re not thinking of forever when understand or be one of those people. you’re 11 or 12. I guess it was when I was 14, that was the lm David and Gary came onto and because they met us as LAJ: Most of your life you’ve been famous - and a phenom- teenagers, not kids, it was more an older brotherish mentality enal level of fame - yet you’ve managed somehow to keep a than a parental one. It started to feel really fun. We weren’t low prole, comparatively. just hitting marks any more; we started having opinions on scenes for the rst time. DR: ank you. Yes, I’ve done ok. Nobody does it perfectly, there’s no blueprint for growing up doing interviews and ne- LAJ: Your latest lm is Victor Frankenstein. Why is the gotiating being famous. It’s denitely something you live in story still relevant? What is di erent about your version denial about for a while. You say, ‘I’m just going to be normal’ and what attracted you to it? and then you realize, ‘OK I just can’t do all that, I can’t act as if it isn’t a thing’ and once you get to grips with all that it’s DR: Our version is shown through Igor’s point of view, from easier. his perspective and shows a lot more of his backstory than has ever been shown before. Obviously Igor isn’t a charac- LAJ: Was there ever a point when you thought it wasn’t ter from the book [the lab-assistant character has appeared worth it? in many Frankenstein adaptations but not the original Mary Shelley book], so it isn’t a faithful adaptation but what re- DR: No, there really wasn’t because I always loved my job on mains from the book is the argument that I think makes it set so much. ere was never a point where I thought I’m relevant. We’re still having these conversations about tech- going to have to walk away from all this. It never got that nology and the fears about technology advancing, whether bad, I’m lucky. it’s about cloning or Articial Intelligence or whatever it is,

t-shirt: JEFFREY RUDES pants: PAUL SMITH UPT 84 t-shirt: JEFFREY RUDES suit: ALL THAT IS LEFT shoes: RAG & BONE courtesy of CLOAK WARDROBE these are current conversations. Jurassic Park is in fact a Frankenstein story in that sense. And for me what was fun about the script was that we were allowed to have this big, interesting conversation about man’s relationship to technology and science set against the backdrop of this incredibly fun adventure movie.

LAJ: Do you have some kind of game plan for your career or do you like to roll with the punches and see what comes up? sweater: DR: Not really, I just want to keep going and that’s all anyone can ask for really, making lms that excite me and make SACAI me happy. I have aspirations to write and direct and that

hopefully may be something I can get to try out in the next pants: few years. ALL THAT IS LEFT

LAJ: And is that when you’re happiest, when you’re creating?

DR: When I’m on set, absolutely, yeah. I think that’s denitely where I feel most in my element. When I’m there it boots:

just feels most like home. RAG & courtesy of courtesy BONE ( e End ) CLOAK WARDROBE

groomer: TANYA PACHT using Oribe haircare producers: CHELSEA MALONEY set design: JOSH DOTSON photography assistant: SHANE LAVANCHER stylist assistant: PAGE SCHULTZ special thanks: JAY & MARYANNE @ dune studios shot in NEW YORK at DUNE STUDIOS to view video footage from the day go to www.utpmag.com

UPT 87 Dustin Lance Black text by Thom Lonardo photography Paul Mpagi Sepuya styling Sara Alviti

sweater: VALENTINO white jeans: FRAME DENIM shoes: GIVENCHY braclets: DUTIN’S OWN UPT 88 NATURALIST PROJECT - BLACK there). What happened in that courtroom was revelatory; was the courtroom that in happened What there). apart; fell equality marriage those opposing from arguments - question under the stand on turned fact,in witness theirkey was ere it. saw one no but dramatic, incredibly was It ing. - want of out came really So feed. theplay audio an even not I courtroom. in that happened what be known let it to ing their make to takeyears movies but movie, a written could’ve a within a play I knew write I could the screen, but to way in happened really what know let the public and months, few Los and York in New did a production We courtroom. that much- raise helped glitterythat cast big a which had Angeles the case. needed support to funds Oscarspeech, your TL: During made a bold you promise people full America that of the young federalto equality been you the fact that about open soon. You’ve was coming received backlash certain within members the LGBT from explain Can you making such a promise. for movement were? objections their what was there that was I heard objection the main Well, DLB: and in line I needed get to and in place, a thirty-year plan it. follow TL: irty years? an was very was it specic. thirty and It years… Yeah, DLB: regarding philosophy a wait-and-see with plan incremental had believe they we Court; did not meaning the Supreme lose if we would we that and side, our on Kennedy Justice that have I didn’t Court. Now, the Supreme to anything took - in this coun faith more a little I had I guess patience! kind of the de- at looked really you they If than did. the law, and try, became clear it prior, made had Kennedy Justice that cisions as people lesbian and gay who saw this someone was that the arguments However, protection. of worthy equal citizens, the timewas at leadership theLGBT from hearing were we a majority have don’t we that yet, us with not America is that then. change to have we what that’s okay, I said So, support. of I think minds. it hearts and knew needed change we to We and leadership, the LGBT the part of on vision of a lack was deserve I’ll you tell it. didn’t really we that fear, some perhaps didn’t just lawyers...we our plaintis, case, our our though, deserved we deserved we felt it knewand that it, We that. feel now. from y years or forty, thirty, Not lifetimes. our within

USA

photographed in: Santa Monica, CA. go. e work is what drove me, though it’s not like I just had had I just like not it’s though me, drove what is work e go. 2008, Cleve the fall of In equality. marriage a sole focus on - I, pub and political protégées, Milk’s Harvey of one Jones, the that saying Chronicle Francisco San in e op-ed an lished at’s equality. marriage just not full equality, for now time is and forward, leap huge a was equality stillMarriage the goal. I goal; however, that achieving closer to much us brought has still can be legally you the fact that of lose sight don’t we hope did way in no being So, married. for just states in most red out fully I laid had the Cleve achieved goals we and that I feel day, a I took long. that celebrate I didn’t why in 2008. at’s an was there day the following by but nice, really was it and needed be to lled. that emptiness people of part a group of were TL: A few ago you years 8 in California. Proposition in overturning instrumental activism? into foray rst your this Was but movement, rights in the gay been I had DLB: involved volunteering some done I had capacity. in a leadership never - com that, and in Los Angeles, Center Lesbian and the Gay at Milk the movie do writing to I had the research with bined some lost had we that became clear eyes. It my opened really Milk - like Harvey like people of the successful strategies of with women, with racial with minorities, coalitions building be needs to that work . . . the kind of movement the labor seemed have to It the ballot box. win at to going if your done it seeing that and these strategies examining was It stopped. to desire my sparked really be revise them that time to might in the movement. position take a leadership you inspired 8. What the play created this you TL: Out of do the play? to a of in front the case gone had point, that at Well, DLB: and time defendants the rst was it in California, and judge and hands their right raise and court into go to had plaintis gay the truth, about but nothing the truth, tell to and promise had that stereotypes and All families. these myths lesbian and trial. excited was on I go would so long for equality hindered our truth on was that was philosophy because my that about hearts change could we be heard, it have just could we If side. so and also that, understood the opposition Well, minds. and the- court from banned were cameras that they sure made them being (of favor in was the judge though even room, ustin Lance Black is a troublemaker. Black is a troublemaker. ustin Lance

DLB: (laughs) Well, I’m not really great at celebration. It’s just just It’s celebration. at great really not I’m Well, (laughs) DLB: fact, I liked the In the work. doing like I really forte! my not before it put I literally so equality much marriage on work be I’d priority. took it years ve almost lmmaking. For my call do a speech to in a phone if I got and a script, on working and a plane on get I would wherever, or Michigan, or Texas TL: I read somewhere that you only allowed only you sixty somewhereread I TL: yourself that all the smallseconds victories celebrate so leading to up or a minute than allow Did more you yourself equality. to day? that on DLB: I was in San Francisco, and it was early in the morning in the morning early was it and Francisco, in San I was DLB: the East Coast, on unfolding obviously because were things been in- you’ve surprised. If totally I wasn’t be to honest, but - the Su to path its and ght, equality in the marriage volved until wasn’t the wall. It on the writing saw Court, you preme Street, Castro onto out sink in. I went started to it that later converging people of thousands, if not hundreds, saw and thinking and eyes my closing remember I just celebrate. to now could in Texas, up growing me, a kid like how about marrying day their partner, one think about and fall in love, by protected be recognized and would it that knowing and this country. TL: First of all, congratulations on the recent marriage marriage the recent on all, of congratulations TL: First heard when reaction you your was equality ruling. What the news? A powerhouse of art and activism, the 41-year-old 41-year-old the and activism, powerhouse of art A us on to share his thoughts with Black took some time recent ruling on Marriage Equal- the Supreme Court’s his Mormon to out coming Hollywood, gays in ity, Olympic his partner, trumps he what area and mom, in. Daley Tom diver From his passionate, yet controversial, acceptance passionate, yet controversial, From his role to playing a major the Oscars in 2008, speech at ballot that would Prop 8 (a statewide in defeating have made same-sex marriage illegal in California), and social director, screenwriter, the award - winning to stand up for what he believes. activist is not afraid D Sara Alviti Sara styling styling Paul Mpagi Sepuya Sepuya Mpagi Paul photography

Thom Lonardo Thom text by text by TL: So I have to ask… aer the marriage equality rul- DLB: Well, there’s a book in there somewhere, but I won’t ing, did any of them come to you with their tail between give you that much! My challenges started with being born their legs? into a very conservative Mormon family. If you grew up in a Mormon church you heard the prophet, Spencer W. Kim- DLB: No, but they didn’t need to. I think the people who ble, equate being gay with being a murderer. at’s a hard disagreed eventually saw the wisdom of what we were do- thing to hear when you’re six years old, and already have a ing. I think very oen in the gay community, and even the sense that you’re a little dierent then your friends and your minority community, there’s interlacing warfare going on. brother. en add growing up in the South to that, and also It’s worth remembering that the real enemies are not the being a military family. My mom worked civil service in the people in the movement, even those who might disagree Army, and I had a step-dad who was in the Air Force. is with you. One of the guys I fought with the most was Evan was all taking place in the period when gay and lesbian peo- Wolfson who absolutely disagreed with ple were being kicked out of the military for our philosophy. He lectured me pretty “ who they were. It seemed the best we could brutally for just mentioning the word do as a country at the time was to say, don’t “federal” in the Oscar speech. But even ask, don’t tell, which is such a slap in the then, I threw him a fundraiser in my own “I saw hundreds of face to gay and lesbian people, because the home because his organization, Freedom most crippling thing you can do is tell a gay to Marry, was also trying to do the good openly gay people, person to hide themselves in shame. So, you work of moving hearts and minds. Ulti- know, it was a frightening time for me. mately, we’re all in it together. and they didn’t have I’d be lying if I said I never contemplated the TL: What’s the next big issue within the horns coming out of sort of dire solutions that a lot of kids turn movement? to who are in those circumstances. Gay and their heads like the lesbian kids are four times more likely to at- DLB: e next goal is to pass a federal tempt suicide than their straight brothers civil rights act that mirrors the 1964 civil Mormon prophet had and sisters, and nine times more if they come rights act, but includes LGBT people, from an unaccepting environment. When which would mean that we would have promised.” you tell a young person they will never be protection when it comes to housing and able to love, well, what do you have le? But to jobs. If people felt protected, and knew my turn of luck came when my step-dad was they couldn’t be red or kicked out of their homes for be- transferred out of Texas to the Bay Area in California. He was ing gay or lesbian, they might actually start to come out a Catholic who only went to church at Christmas and Easter, and share their lives with their co-workers and their com- and so the religious tenor in the home started to relax a bit; munities. In order to have that, we need to have security, and because I was so incredibly shy, my mom put me into and that’s going to take a federal civil rights act. I’m afraid theater classes. All of a sudden I found my people. that if we just went state by state, city by city, it could take a century. TL: It wasn’t until college when you ocially came out, correct? TL: Given your activism and eloquence on these issues, it’s easy to assume you’ve always been comfortable in DLB: at’s right. I went to UCLA’s lm school and I made your own skin. In my research, I saw that you had a lot a best friend who it turns out was gay, even though we were of cards stacked against you growing up. I’m wondering both closeted and never talked about it. He nally came out if you could share some of your personal story, and the and said he’d heard about this place called West Hollywood, power of coming out. I know it’s a long story, but… which is the gay area, and well . . . it didn’t take long before I said that I’d like to go there. When I did, it was truly life

sweatshirt: JAMES PERSE swim trunks sunglasses & jewlery: DUSTIN,S OWN UPT 90 UPT 91 changing because I saw hundreds of openly gay people, and who is working actively to hinder the lives of LGBT people, out somebody they suspect of being gay. they didn’t have horns coming out of their heads like the Mor- and we nd out that they themselves are gay and lesbian, then mon prophet had promised. ey didn’t seem depressed like I’m going to out them. It might be controversial to some, but DLB: at is true. My experience is that they’ve all been I had heard gay people had to be. ey were having a damn if you’re working against a community that you’re secretly a managers or agents who are older gay men, who are still good time; and so, you know, at that point my life was changed member of, then I’m going to let that be known. I’m going to operating from an outdated philosophy that gay and lesbian forever. expose their hypocrisy. people can’t be open about who they are and still work in this business. I think they need to catch up. America is ne with TL: And your mom, she nally came around? TL: What about closeted actors? it as long as they’re good actors.

DLB: Yeah, she did. Coming out to my mom was very fright- DLB: Well, that was a real issue ten to twenty years ago when TL: With Hollywood so dependent on the global market ening. My mom loved everybody, but she grew up in the actors would pretend to have girlfriends or boyfriends. I now, and having to show lms in countries with strict anti- South, she was military, and had been Mormon, so she didn’t have to say, in my experience, that’s stopped now. e most gay laws, do you think we’ll ever see an openly gay A-list think being gay was right. I think she thought that if you were actor carry a lm? gay or lesbian your life must be pretty miserable. So, you know, coming out to her was tough. It happened over a conversa- DLB: I believe so. First of all there are so many ambitious tion around “don’t ask, don’t tell.” Her feeling was that it was and talented gay and lesbian actors out there who would like too inclusive because gay people could keep it a secret, and to be the one that gets a picture green-lit, I feel like it’s just still stay in the military. She didn’t feel that was right. Even bound to happen. I think that day is coming in Hollywood. aer I came out to her, it wasn’t like she went around and told Personally, I have not seen hesitation at all from studios or the whole family like it was good news. She kept it a secret. It networks when it comes to casting openly gay actors and ac- was really hard for her. It wasn’t until she started meeting my tresses; none, never once. And I bring it up all the time. gay friends and hearing their stories that she started to realize these people didn’t match up to the stories she’d been told her TL: It feels like television is much more inclusive than lm whole life. She felt that she had been lied to for generations. I in telling the LGBT story. oen tell the story about how she came to visit right around my college graduation and met many of my friends, and how DLB: Television, to me, is always what’s pushed the envelope her position on LGBT equality changed almost overnight, how when it comes to social issues. What’s really heartening to see within a decade she went from someone who thought “don’t is how television has moved so rapidly to include trans peo- ask don’t tell” was too inclusive to showing up to the Oscars ple, and trans lives into the conversation; because as much as wearing a marriage equality ribbon. I talk about gay and lesbian people and our needs, there’s no population that’s been subjected to more discrimination and TL: It really shows the power of the personal story that violence than the trans community. It’s really heartening to you’re such an advocate of. see how quickly that conversation has moved.

DLB: Absolutely. It wasn’t about arguing politics; it was the closeted thing I’ve witnessed now are these young men and TL: Speaking of television, you’re working on something personal stories, meeting actual gay and lesbian people that women who seem to be perpetual bachelors or single. But for ABC. had the power to change hearts and minds. Watching my mom the strategy of having a beard has gone by the wayside. Part change gave me the condence to move forward in the face of of that is this generation of actors coming through Holly- DLB: I am. It’s called When We Rise. It’s an eight hour mini- people like Evan Wolfson. I think if we encourage thousands wood now all have had Facebook and Twitter for most of series on the LGBT movement that follows three very di- and thousands of gay and lesbian people across the country to their adolescence and have come out already. ey’ve posted verse characters from dierent civil rights movements: the tell their personal stories, we will see the numbers against us their rainbow ags, or pictures of themselves with their boy- women’s movement, the black civil rights movement, and the change, because truth is on our side. friends or girlfriends at some point. ese days, there’s no peace movement, and how these characters come together to putting someone back in the closet. Managers and agents just form the fast moving LGBT movement. It follows them and TL: What are your thoughts on outing public gures? can’t do it anymore, and when they try, they fail. the people they pick up along the way from 1971 to today.

DLB: Well, it’s pretty simple for me. If you’re a public gure TL: I’ve heard agents and managers will sometimes weed TL: How did it land at ABC?

sweater: SANDRO denim: FRAME DENIM UPT 92 DLB: I wanted to do it with ABC. ABC was my first choice, people like Cleve Jones, who I was told was still around. pionships representing North Salinas High School in back- and that partly goes back to my roots. If you’re a Southern stroke, and freestyle sprinting. So, I’m actually a better swim- military Christian, you’re probably watching ABC. It’s what T.L. How did you finally connect with Cleve? mer; he’s a diver. I grew up with! DLB: A friend of mine called and asked if I wanted to write TL: Are you a Pisces? TL: In 2008 you won an Oscar for your screenplay Milk. the lyrics to a rock opera he wanted to do on the AIDS Me- When did you first hear the story of Harvey Milk? morial Quilt. He said that the founder of the AIDS quilt, DLB: Gemini. We both are. Cleve Jones, was alive, and living in Palm Springs. I thought, DLB: When I was in high school I would travel up to the “Wait a second, is this the same Cleve Jones that was Har- TL: Oh, boy. Bay Area in San Francisco, and audition at the American vey Milk’s intern?” It was, and so I went to his house with Conservatory Theater. It was during that time that I heard my friend, supposedly to talk to about the AIDS quilt, but as DLB: Yeah, get Tom and I in a room, and you’ve got four bits and pieces of his story. But really, it wasn’t until college soon as my friend would go to the restroom, or whatever, I people to interview! that I got the whole story. UCLA had a copy of The Times of would say to Cleve, “tell me about Harvey Milk,” and his face Harvey Milk. After I watched that documentary, I just read would just light up. Within a week, I think I said, “I love your TL: On Twitter you describe yourself as filmmaker, social anything I could about him. I found his story so moving, so quilt, and it’s a national treasure, but let’s do the Harvey Milk activist, and troublemaker. What’s the last bit of trouble vital, and by the way, lost. No one knew who he was! It was movie,” and he said sure. He really helped me go into the you got yourself into? And I want the dirt. so frustrating! portal of the surviving members of the Milk family, and then from there it was just years of research and drafts. DLB: Oh, god. TL: Really? TL: Are you still planning to direct The Statistical Prob- TL: Just kidding. DLB: You have to understand, the people who had been ability of Falling in Love At First Sight? fighting alongside Harvey Milk were dying, and so right DLB: When I say troublemaker, I don’t mean, like, I’m out there we were losing an entire generation. We were losing DLB: Yeah, it’s still happening. A number of weeks ago I getting arrested for doing something I ought not be. It really Milk’s philosophy. The struggle had changed. People were turned my focus back to filmmaking full time, and now came from Julian Bond, who we lost recently. Julian Bond trying to survive. We’re talking late eighties, early nineties, it’s just a matter of getting all these things going again, and was the great leader in the black civil rights movement. I had at the height of the epidemic. People weren’t talking about deciding if I do it before or after the mini-series with ABC. lunch with him one day right before filing a case against Prop moving our civil rights act along, they were talking about ac- Probably wise to do it after, so they both get their fair amount 8, and I mentioned how we were receiving a bevy of criti- cess to drugs, and dying with dignity. It was not a time peo- of attention. cism from the leaders of the gay movement, urging us not ple were talking about Harvey Milk. As a film student, I had to file. I’ll never forget Julian leaning in and saying, “Lance, heard that Randy Shilts’ book (The Mayor of Castro Street: TL: Speaking of love, you’ve been with your partner, Tom good things do not come to those who wait, they come to The Life and Times of Harvey Milk) had been optioned by Daley, for how long now? those who agitate.” And I carried that with me from that day Warner Bros., and I was really excited about seeing it. But, it forward. I was no longer afraid to cause trouble, to agitate never happened. So a decade later, I’m working in the busi- DLB: About two and half years. when necessary. I realized it’s often necessary to cause trou- ness, and it still hasn’t happened. At that point, I figured this ble even amongst the people who are your allies. I aspire to could be a Dustin Lance Black production. I had a good job TL: You once said, “people are better when they’re in love.” be a troublemaker now, even though it certainly wasn’t how on Big Love, and I had a credit card, and I thought, “well… How has Tom made you better? I was raised. The Mormon Church didn’t encourage that sort let’s see how far we can get with this.” of thing, but now I wear the badge of troublemaker and agi- DLB: In my opinion, I believe love makes you better. I think tator with honor. TL: How long did it take to write? most people understand that you grow in a different way when you’re in a relationship. In Tom I found a partner who ( The End ) DLB: It took a number of years, partly because I didn’t have I can dream with, and who knows how to make those dreams the source material. Warner Bros. still owned the book. More into a reality. importantly, though, I really wanted to meet the real people who were left. I wanted to hear their stories first hand. I TL: Which of you is the better swimmer? wanted to draw my own conclusions. That took a lot of traveling on the weekends to San Francisco trying to track down DLB: I was a competitive swimmer. I went to the state cham- groomer: VERONICA NUNEZ @ ART-DEPT producers: CHELSEA MALONEY & MATT BROWN NATURALIST PROJECT - PAULSON Top: LOUIS VUITTON Sarah Paulson text by Alec Holland photography Nino Muñoz styling Johnny Wujek

his issue deals with Naturalism, and Sarah Paulson is a natural.T As part of the ensemble of the wickedly glorious anthology series American Horror Story, she manages to insert a sense of realism into characters that are made up of anything but. Paulson grew up in New York City, and went to the famed High School of Music & Performing Arts. Just four months aer graduating, she found work in plays like Horton Foote’s Talking Pictures, and Wendy Wasserstein’s Broadway hit e Sisters Rosensweig. Paulson moved to LA and started taking on TV, in shows like American Gothic, Jack & Jill (where our paths rst crossed) and Studio 60 on the Sunset Strip. Since then, she’s been back on Broadway in e Glass Menagerie, and turned in notable performances in lms like Martha Marcy May Marlene and 12 Years a Slave. But it’s her deliciously varied roles on American Horror Story that’s got the world going gaga. Even, it would seem, Gaga.

photographed in: Los Angeles, CA USA UPT 95 “ “I was born with a very big imagination.”

AH: Tell me about going to Laguardia (High School of Music & Performing Arts). I imagine it to be a total dream, even if it was nothing like the movie.

SP: It was completely life altering. When I went there I was told there were about three thousand kids auditioning for the drama department and sixty of us got accepted. So, it was sixty kids that really, really wanted to be actors. So, not only to be in Manhattan, but also to be in a building behind Julliard and Lincoln Center that was lled with performers was just… a stimulating and soothing place to be.

AH: Does the school teach a specic acting technique?

SP: You’re taught dierent things depending on your teacher. ere was one teacher, this Russian man named Marat Yusim, who I guess was fully Stanislavski, but that wasn’t the school’s only focus. He was an incredible teacher. I remember having a conversation with (fellow alum) Jennifer Aniston once and she was saying how he was so tough, and he was. He was so tough on you! But the truth was he was tough on you if he thought you were good.

AH: You started working pretty much right out of high school.

SP: I got very lucky.

AH: So you don’t have those obligatory stories of being a waitress, or spraying perfume at Bloomingdales…

SP: Well, I had one. I got a job at Circle’s Pizza in Brooklyn. I worked there for one day. I am a terrible speller. Someone ordered chicken parmesan, and I couldn’t spell it. It didn’t occur to me that I could abbreviate it to just “parm”. I called my mother in a panic, “How do you spell ‘parmesan’?!” And then someone ordered eggplant Parmesan, and I was like, “I just… can’t”.

AH: at was it.

SP: It was really terrible for me! And I quit. But then, a few months later I got Sisters Rosensweig, so…

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UPT 96 AH: You understudied Amy Ryan?

SP: Yes. And at the end of the run, I got to go on for two weeks. It changed everything for me.

AH: You went to LA.

SP: I did. I did a show called American Gothic. I try to do shows that have the word “American” in the title. American Gothic, American Horror Story, American Crime Story…

AH: I noticed that. It’s very impressive.

SP: anks! American Gothic is the thing that brought me to LA. I tested and got it. When it was cancelled, I went back to New York to do a play and then I came back to LA to do a show called Jack & Jill, and I’ve been here ever since.

AH: So, here’s our six degrees of separation. A billion years ago I was an actor in LA, and I did an episode of Jack & Jill.

SP: You did not.

AH: Yes, I did. I’m surprised you don’t remember my stunning turn as a very amboyant book agent. I had one scene.

SP: at is so amazing.

AH: Good memories working on the show?

SP: e biggest thing is that it’s where I met my best friend. Amanda Peete was the gi given to me from that experience.

AH: With American Horror Story, I’m curious how you prepare for these extreme roles. Do you feel like your strong theater education helps bring you into these incredible characters?

SP: No. I actually think it’s my genetic makeup in the sense that I was born with a very big imagination. ere is no world or frame of reference to guide you with these stories, because they are so extreme. You just have to dive in. Noth- ing small works here. I said this to Lady Gaga the other day, because it was her rst day on set. ere is no world in which whatever choice you make would be wrong here, because the world is so extreme that almost anything goes.

UPT 97 UPT 98 jacket: PROENZA SCHOULER shoes: GIUSEPPE ZANOTTI

UPT 99 bodysuit: WOLFORD skirt: MARC JACOBS COLLECTION shoes: ALAÏA

AH: Some of the scenes in AHS are unbearably terrifying to watch. I mean, having Bloody Face standing over you, or that clown in Freak Show… Are they as terrifying in the moment while you’re shooting?

SP: It’s a weird thing that happens when you are putting yourself in a reality that you know isn’t true. Mentally, I know that I’m not scared, but physically, my body is com- municating terror in a way that my brain has one part that knows it’s not real, and the other part is believing it. So, it’s draining and there’s a price to pay physically for it. But it’s totally worth it to me because it’s such engaging work. I’d much rather be doing this than playing some nice lawyer on some other show, you know?

AH: Do you have any say in what you want to play next, or something you want to lean towards in terms of a new character choice?

SP: In season four (Freak Show), I told Ryan (Murphy, co-creator of AHS) that I wanted the twins to be Southern, because I was going to be playing something so out of my comfort zone. I’ve never had any experience at all that cor- relates with having another person’s head attached to mine … I wanted something grounded… because my grand- mother, my mother, my father are all from the South, I wanted something that rooted me in reality, and he was totally open to that. So there’s collaboration in that sense. But, I think the things he’s come up with and he’s given me are so extraordinary that I don’t dare say, “What about this?” because I think he’s done a really ne job. And this year particularly, I’ve never played a villain on the show. e idea of playing someone who is really out for themselves I think is interesting for Ryan to ask me to do because I’ve never done it on the show before.

AH. I’m sure I’ll end up watching through my ngers, but still. I can’t wait.

SP: anks!

( e End )

UPT 100

dress: DRIES VAN NOTEN

hair: LAINI REEVES @ Something Artists makeup: ADAM BREUCHAUD @ TMC-LA using Chanel les Beiges manicurist: SARAH CHUE @ Exclusive Artists Mgmt. using Séche Vite studio manager: URSULA STRAUSS @ Nino Muñoz Photography styling assistant:ALANA VAN DERAA photography assistants: GREGORY BROUILLETTE & JOHN FITTS digital tech: CARL NOVICK location: Milk Studios, L.A. UPT 101 Cody Simpson

text by David Gagliardi photography Dennis Golonka styling Romina Herrera Malatesta art direction Lisa Dotson

Growing up isn’t easy for anyone. e path to adulthood is long and strewn with awkward situations social problems and family pressures, but as uncomfortable as it is from within the privacy of your own poster- covered bedroom walls - a select demographic of people have to navigate their way through all of this in front of millions of people. While all of this understandably tolls heavily on some (read “Amanda Bynes”), there are rare instances where the subject is fortunate enough to make it through in one piece - and in the case of Cody Simpson, perhaps even introspective enough to oer a glimpse into the other side of the tabloids.

Last year Simpson parted ways with Atlantic Records, who had fostered and developed his career since age 13. His decision came as a shock and surprise to many, and it is hard to imagine how that would come to fruition without burning a few bridges. Shortly aer, he started his own label (Coast House Records) and in June released his rst post-Atlantic record, Free.

I was able to catch up with Cody on his way to a rehearsal in LA, and wasn’t entirely sure what to expect. A child- NATURALIST PROJECT - SIMPSON PROJECT NATURALIST hood sensation recently divorced from his million-dollar record label to pursue a passion project? Not an easy thing to pull o without seeming contrived or overeager, but instead of the classic zealous teenager mold, what I found was something more like Michael Douglas in Falling Down; a case study on oppression through the bureau- cracy of an industry.

photographed in New York, NY USA

jacket: MARC JACOBS tank: ROBERT GELLER jeans: MARC JACOBS beanie: THE VIPER ROOM necklace ring & braclet: MARA CARRIZO SCALISE vintage bracelet: CODY’S OWN UPT 102 NATURALIST PROJECT - SIMPSON

UPT 103

CONVERSE : LEVI’S sneakers jeans: jeans: THE VIPER ROOM ROOM VIPER THE : CODY’S OWN t-shirt OWN CODY’S vintage leather jacket: jacket: leather vintage

UPT 104 “ “I’m just a normal guy with super good intentions for people. I care a lot about the environment, I care a lot about uplifting my fellow youths.”

DG: You’ve had a pretty exciting past year, a lot has hap- balanced life of being able to hang with friends and party, kind of music you should be making, and try to change pened. You le Atlantic, and started your own label? and surf and skate – as well as make music that does some your music so it’s supposedly more commercially market- good for people as well. But it’s all sort of a natural growth. able – when these people can’t sing or play a lick them- CS: Yeah man, it’s been kind of gnarly, with trying to navi- selves. And I think that’s bullshit personally. gate my way through the politics. I’m only 18, and I’m not really a big fan of politics in DG: Why do you think that record labels any way. I try to keep my stu pretty simple believe A&R’s have this ‘ability’ to pre- and straightforward and organically done. dict what people will like? I guess from being super young – I got started when I was 13, and signed to Atlan- CS: I think honestly the reason is that peo- tic on my 13th birthday, and I was kind of ple’s attention spans have become so short, taken on this ride for a while being this in- that if something doesn’t work – I’m talk- nocent and impressionable Aussie kid, and ing about record labels, not about people you kind of just do whatever anyone tells that want to build something their entire you because you’re young and people are lives, but it’s a business that is so hung up throwing shit at you. And you’re kind of on having to make money right now. psyched but still don’t know exactly what you want. I think any musician that would I personally don’t care about money, and have been oered what I was oered at 13 I’ll live in a shack, as long as I get to stay would have taken it just to see what hap- true to myself as a musician and an art- pened. And it only took me 5 years until I ist. I think it’s just that people want things was 18 and moved out and started stand- so immediately, and are super impatient ing up for myself to realize that I had been when it comes to things like ‘we need a hit taken so far from my authentic self and on the radio that’s going to make us a little style. So I kind of had a sudden shock and bit of money now’ as opposed to a more had to leave my label and throw everything back in the DG: It’s interesting to hear you bring up the ‘politics’ organic way of building something that might inspire peo- water and build from the ground up, which I couldn’t be of the music industry, because that’s something that I ple. happier about. don’t think a lot of people get to see. What kinds of politics are you referring to? DG: is new record of yours is pretty drastically di er- I don’t have the same philosophy as most artists do who ent than what you had been putting out until now. Do try to get their music on the radio – I don’t really care. I CS: Within the cra of music, there are these people called you think the response to the new music has conrmed see myself as a normal person who just wants to have a A&R’s. And these people will try to basically tell you what your suspicions about the way music is consumed?

vintage t-shirt: CODY’S OWN jeans: LEVI’S beanie: THE VIPER ROOM necklace: STARLING SILVER braclet: MARA CARRIZO SCALISE UPT 106 sweater: WON HUNDRED jeans: SAINT LAURNET beanie: THE VIPER ROOM necklace: MARA CARRIZO SCALISE sneakers: CONVERSE

UPT 107 CS: Up until now, I wasn’t putting it out - they were, you know? It just wasn’t my voice. It might as well have sold in Target or some shit. It was sort of a commercial product, and I can’t blame anyone or myself because I was 14 years old or whatever and I didn’t care. But turning 18, I’m starting to learn so much about myself – and most people don’t ever really know who they are until they’re even older than I am, so I’m still developing it all. But to know what kind of music I want to make, and to be able to make the kind of music I’ve been listening to since I was a kid, and what inspires me is super refreshing and relaxing. I don’t mind if it doesn’t have an immediate reaction on a major scale, or if it sells a thousand or a hundred thousand. at doesn’t bother me and I’m not looking for any of that right now. I’m just looking to develop who I am. I’m always talking to my manager and saying ‘Oh, I don’t want to do this, I don’t’ want to do that, because I just want to sit in my bedroom and practice and get better because I have so much time ahead of me.’ Some people are saying ‘oh well his album didn’t sell,’ but dude I’m 18 – I don’t really have to do shit for another 5, maybe 10 years if I don’t want to.

DG: You have a pretty expansive fanbase, were you worried about alienating any of them with this transi- tion?

CS: Yeah I denitely lost fans and stu. I guess people being like ‘oh well we thought we believed in you as a young dude.’ But I think the best way to do things is honesty. Honesty is the best solution, and I try to be honest and don’t like to hide anything. I’m grown up, I’m 18, I smoke weed. I’m just a normal guy with super good intentions for people. I care a lot about the environment, I care a lot about upliing my fellow youths to live cool lives and do fun stu and enjoy their lives and be free and have their own freedom of choice as young people. I’m always going to be open and never try to be something I’m not. I’d rather be hated for who I am.

DG: Do you think a lot of other people who are caught up in record contracts wish that they could do what you did?

jacket: PRADA t-shirt: BLK DNM jeans: ACNE beanie: MARC JACOBS sneakers: VANS ring: MARA CARRIZO SCALISE necklace: STARLING SILVER shirt & jeans: DENIM & SUPPLY RALPH LAUREN necklace & ring: MARA CARRIZO SCALISE necklace: STARLING SILVER vintage bracelet: CODY’S OWN sneakers: CONVERSE UPT 109 “ “I’m always going to be open and never try to be something I’m not. I’d rather be hated for who I am.”

black jacket: PRADA jeans: DENIM & SUPPLY - RALPH LAUREN necklace: Mara Carrizo Scalise

UPT 110 “

jacket: MARC JACOBS tank: ROBERT GELLER jeans: MARC JACOBS beanie: THE VIPER ROOM necklace ring & braclet: MARA CARRIZO SCALISE vintage bracelet: CODY’S OWN sneakers: VANS CS: I don’t necessarily think that I’m a role model or any- CS: Yeah just being a young musician in California you thing. I denitely would encourage other people to do end up making your own friends. e guys I’m starting that if they feel that way. It depends on how you feel, if a band with and starting to write a bunch of music with you’re happy with your situation then you should stay are super cool, and I’m really looking forward to that. with it – but I wasn’t happy with my situation, and it I’ve been talking to a bunch of musicians that are super wasn’t doing justice to my authentic self so I had to be cool, and that I admire – and was able to work with some honest with myself. on the album, people like G. Love, and Donavon Frank- enreiter which were super cool to learn from. I also got DG: How premeditated was the non-musical aspect of a little advice from John Mayer from sort of e-mailing your recent change? Did you deliberately change the back and forth with him. So I’m just sort of taking advice way you were branded, or your social media presence? from people who have done the same thing that I’m hoping to do for the next generation. CS: I guess it was deliberate. I sort of took it all over and was honest about it and made it who I am. DG: You mentioned practicing before, and how you’ve been taking more time to practice – what is your prac- DG: What other kind of personal freedoms came tice regimen like? How intense does it get? when you departed from Atlantic? CS: Not too intense – and what I’ve found is that when CS: I think more time to do my own thing, and make my you practice too much you end up not liking it. If I’m own decisions. I get to do things that I might not have sitting down doing scales for four hours a day, then I will been given time for. I didn’t have much of a say in my just start hating to play the guitar. I nd a balance. With schedule, but now I can be more of a normal guy and say guitar, I’m super into it – I try to sit down for an hour a ‘Hey, I don’t really want to do this because it’s going to day with a buddy and trade solos, and pick up a new ri drive me nuts’ and take a couple days and go on a road here and there. And it all hopefully adds up. trip, or surf trip with my buddies. Everyone should have their freedom of choice. DG: Are you planning on nding and adding artists to the roster at Coast House? DG: I read about your emphasis on Free working as a record, and placing less stress on singles – which is CS: Yeah denitely. e whole movement isn’t really in contrast to most people’s opinions that 2015 is pri- about me, it’s about other people – and bringing other marily a singles market. Was this a conscious rebel- people to back the movement and lifestyle and this way lion as well? of doing things. I have a bunch of friends who are awesome singer-songwriters that I’d love to get involved CS: I’m not really trying to rebel against anything, I kind with. I’m also starting a band with a couple of my bud- of just wanted to make an album. I wanted to make my dies from Venice Beach. Free was a cool transitional rst real album, which is something I was never really mellow piece, and was me sort of nding my feet as a given an opportunity to do before. I’d never been given guitar player and a songwriter – and was a good start the chance to sit down and do it, and had always been at making the music that comes out of me naturally. It thrown into the room with these weird pop songwriters denitely reects the way I was feeling in a relieved situ- who are so textbook. ation. And now I get to make another one and start the band and get better as a player. I just want to keep im- DG: Do you have any people you want to work with proving as a musician, and that’s really what I care about in the future? is getting better.

( e End )

UPT 112 groomer: GAVIN HARWIN producer: CHELSEA MALONEY @ See Management photography assistants: NICK TURK & MATT BROWN fashion assistants: PAGE SCHULTZ & GIORGIA FUZIO special thanks to: JAY STADWICK, ASHLEY LANAUX & JUSTIN STIRLING location: Dune Studios, NYC to view video footage from the day go to www.utpmag.com

shirt: BLK DNM necklace: MARA CARRIZO SCALISE necklace: STARLING SILVER Tham & Videgård

text by John Mascaro portrait photography Elisabeth Toll

our feet thump the oor of the forest, pine needles crackle as you step, and raysY of light penetrate through uttering leaves high above your head in a remote forest just south of the Arctic Circle in Sweden. You’re outside the town of Harads. Cool wind brushes your face and you look up to notice something of a mirage. A visual anomaly reports to your view. As you approach, the geometry of a mirrored cube suspended high above from the trunk of a tree becomes apparent, and this is the hotel room in which you’ll be staying.

I rst noticed images of the Mirrorcube, by the Swedish architecture team am & Vid- egård a few years ago when running my own architecture studio in Paris and remember stopping on the pictures within the magazine, reecting on my childhood memories of constructing crude tree forts in the woods around the home I grew up in, and intuitively thinking that these guys nailed it, created something rather magical, and I was a little jealous. So when I was contacted about writing this article I happily agreed to do so.

e Mirrorcube, a 4x4x4 meter hotel room clad in mirrored glass reects the surrounding nature, rendering the structure itself visually embedded within its surroundings. e interior, of minimal design was fabricated from locally grown and produced birch and plywood, while the entirety of the room was constructed by local builders and

NATURALIST PROJECT - THAM & VIDEGÅRD THAM & - PROJECT NATURALIST crasmen.

I had the fortune of interviewing Martin Videgård and Bolle am, two men clearly aware of the need to design with a certain humility, with attention to site specicity - refreshing within the context of contemporary architecture which in recent decades has been driven more by the abilities aorded to architectural design via 3D modeling, computation, and the myriad of fabrication methods emergent from such tech-driven advances.

With these new tools architects have been making a kind of abstract expressionist architecture, indulgent, echoing old science ction imagery to invent a derivative skyline rather than creating new and relevant experiences for people to inhabit.

am & Videgård’s Mirrorcube project eschews the form driven exhibitionism of star- citecture, and by creating a project which virtually disappears and weaves itself into the fabric of the surrounding nature, the team has aorded their studio a good many deserved accolades.

UPT 114 TREE HOTEL Harads, Sweden TREE HOTEL Harads, Sweden photographed in Stockholm,Sweden: MARTIN VIDEGÅRD & BOLLE THAM JM: What were your rst experiences with the forest as chil- JM: Can I ask, how did the initial concept for the mirrored dren, your earliest memories? Did you grow up in a forest, or hotel come about within your studio? near one or were you city-born, urbanites? T&V: Well, the background is that Kent and Britta, the Grants, T&V: We grew up in Stockholm. Actually, I’ve been living all my who own the original bed and breakfast up in Harads, they asked life in a at. But during the summer time I’ve been staying at our us to do this tree hotel room, and we were quite free to inter- summer house on the archipelago, which is a big contrast nature- pret that idea and to us, we were interested and fascinated by the wise, with the urban city and the relation to the archipelago and duality that sort of arrives when we as human beings approach with its small islands and pine trees and al lot of water. So that’s wilderness.. and this is really big, and people living in big cities close to the nature you can nd in the same way you can nd up go to most remote places to experience natural wildlife or wil- in the Harads where the tree hotel is, but it’s nature. derness, and in combination with this idea about experiencing the wild we also tend to bring very high end technology gear JM: What was the last time you guys climbed a tree? like engineered textiles, or fabrics and tents, and if you go diving you bring al lot of tubes and technology with you.. so all of T&V: Well...it was obviously not yesterday...um... I don’t know. I these materials, which seem to be at the far end of civilization are don’t think it was that long ago. We both have children, so I think combined with the total simplicity and experience of something from time to time you end up climbing trees with them. that is original...so to us we wanted to combine this idea with the Or climbing up just to get them...(laughter). idea of a tree hotel, which meant that the idea of the mirror cube works on these two levels. On one hand it blends completely into nature, reecting everything that is around it.. a bit like a camouage eect so that from certain viewpoints or in certain light it actually disappears very well. At the same time it’s a very abstract high-tech object that is inserted into nature. So this I think was the sort of basic observation that we made from the TELLUS NURSERY SCHOOL start. And then again, of course the idea of being a child climb- A new nursery school next to ing a tree , or perhaps building a tree hut was also something the University college of Arts and Cras Telefonplan, that we enjoyed, and that feeling of being up among the trees and Stockholm very protected and secured... like a very calm place in the middle of the forest was also something we wanted to achieve.

JM: Sadly, I’ve only seen images of it (the tree house) and I hear the word camouage al lot in relation to the project ... to “ me, when I see these images it looks more like a surrealist object, just because of the e ect it produces visually... I think it’s the decision to make it as a cube instead of a metamorphosed “One of the object...it really seems surrealist to me...it looks somewhat like a surrealist painting in the middle of nature, which is main starting brilliant in a way, and I think that may be what strikes a cord points for us for al lot of people regarding this project. Were you guys looking at things such as Johnson’s glass house, when we come or the Farnsworth house because it’s obviously related in a way to the concept of immersing the individual within the to each surrounding nature?

project we T&V: ere’s a long tradition or discussion within architecture and architecture history of how to relate to nature somehow. do is how we You can compare the Corbusian space in relation to the Miesian space. e Miesian space is more dissolved and sort of blends interpret the into nature in a way dierent from the Corbusian, and I think you can nd many, not only those two architects, like Johnson’s context ” house as well. But during the modernist period there was this CREEK HOUSE sort of interest in materiality and new techniques like the pos- RESIDENCE IN SWEDEN sibility of doing insulated glass enabled the architect to do those kind of totally glazed buildings where the surroundings were of experiments with boxes and paints, and mirroring glass... architecture, and I think this project is in that direction the wallpaper of the interior...but I think in our case when the thing that Dan Graham does is that he explores something Do you guys feel that your work is trying to reach toward it comes to the tree hotel we weren’t following that sort of that is useful in a way that is the spyglass.. its highly reective that goal, toward the disappearance of architecture in a modernistic idea I think...it was more an interpretation of so that depending on the light you get either a reection or a way? the context, the pristine uncultivated nature, the urge of go- see-through eect. ing there to such a remote place, super harsh climate and T&V: Well, one of the main starting points for us when we how we cannot interfere with that. e mirror eect sort of JM: I think it’s one way glass, and I think his concept is sim- come to each project we do is how we interpret the context, makes it surreal, as you say… more like a mirage somehow. ilar to yours in that you’re trying to relate the individual and in this case the mirroring eect did a job in that inter- It’s not that typical of a man-made building.. is eect is to nature and I think he’s trying to create an interpersonal pretation about the uncultivated landscape. When it comes more closely linked to art pieces by Dan Graham, or Robert visual experience between people inside the pavilion with to other locations, other projects our interpretation and the Morris. But with mirrors in nature, or in urban locations as those outside the pavilion reading of the context, both the cultural and the physical well, it is more suitable I think to have as a reference piece context dier. So therefore we cannot say it’s about mirror- rather than the early modernist buildings that are built from T&V: en from inside if you see images you know that...one ing or trying to hide or disappear somehow.. If you’re famil- the development of a specic technique, which of course our of the ideas was that the inside should be sort of contained to iar with the other projects we’ve done, the outcome diers house has as well, but I think that the surreal and the sort create a secure, cozy place where you could still sort of have quite a lot depending on the specicness of the site. of extreme were more prescient and interesting for us rather views of surroundings in all directions.. there are dierent than making a general statement as the modernist architects sized cut-outs in all the interiors where you can see through JM: I have looked at quite a few projects and they don’t did. the glass and at night as the light shis you can see where necessarily seem to disappear.. with you guys, there al- these openings are from the outside, but not during the day. ways seems to be that blending within the environment JM: When you talk about Dan Graham, you’re speaking as opposed to the recently ubiquitous architectural grand about his pavilions? JM: Right...a friend of mine once explained ‘avant garde’ gesture. architects are seeking the disappearance of architecture, or T&V: Dan Graham, and Robert Morris…Morris made a lot not necessarily the disappearance, but rather an invisible T&V: We can nd quite a few of those within our produc-

GARDEN HOUSE Viksberg Sweden tion. Of course, it’s the way of dealing with the site and being humble to its nature and context in total.. an exception might be the museum of modern art in Malma... it’s an orange perforated cube and it sort of stands out totally in the surroundings...more like dening a red dot on a map...It was about transforming a former industrial site into a public building which quite oen has a dierent kind of architecture driven out of the idea of being a public building...where industrial architecture is kind of closed o and we’ve created a barrier between the industry and the city, perhaps because of security and that kind of stu.. but this orange sort of addition we did was intended to open up and transform the whole building into something else that became a new entrance for the museum, and from there there’s mainly an interior experience...but the addition sort of pops out...and denitely doesn’t really blend into its surroundings.

JM: rough my screen I see you guys are sitting there with your library behind you. Let me ask, what is your ‘go-to’ book for materials these days.

T&V: I don’t think we have any specic ones...they’re all books about architecture. ese days when everything just sort of ows through social media and the internet it’s like a juicy ow of information pouring through your computer whether you like it or not.So in a way there’s a common knowledge across the world about what’s going on. I think we’ve been looking at older architecture in Sweden, that’s perhaps not so well known, but there was here a very direct way of using local resources...in our case a lot of timber, etc… to produce buildings...and then I think this attitude has been something we used in the small projects in the beginning, but we also brought with us to the bigger projects a searching for a direct relation between the way the building is produced and where it is produced. So that could perhaps be something that is out of the ordinary that you would nd in any oce across the world, like from Palladio to Le Corbusier, or Rem Koolhaus, and more contemporary. I think this is where we nd our inspiration as well. So what we’re talking about now is the relation between the global as a global knowledge and awareness of what’s being built at the moment all around the globe in relation to the local where the local has a specicness. If you compare the north, like Sweden to say the south of Europe, it’s a big huge dierence...not only by climate, but also culture-wise. To build something in those places, the circumstances and starting points dier quite alot and we nd it kind of interesting to have all our buildings and projects grounded in the local context. e context, when it comes both to climate or culturally specic and historical aspects, it makes the architecture hopefully rooted and it creates a relation that’s probably more relevant compared to something that’s generic and could be placed wherever.

top HOTEL PROJECT Djurgården, Stockholm bottom SUMMERHOUSE Lagnö, Stockholm

UPT 118 JM: And in doing so you’re trying to accommodate local needs yet keep within a global context..

T&V: is idea is combining the global knowledge, because the awareness and knowledge is sort of common wherever you go, but to look within the local specics and situation is interesting. ( e End )

top ARCHIPELAGO HOUSE Stockholm Archipelago bottom SÖDERÖRA summer house outer Stockholm Archipelago

top HUSARÖ HOUSE outer Stockholm Archipelago middle MODERNA MUSEET MALMÖ branch of the Swedish Museum of Modern Art in Malmö bottom WODDEN HIGHRISE APARTMENTS Frihamnen, Stockholm city photographed in Brooklyn, NY USA Romina Herrera Malatesta Herrera Romina styling Ben Lamberty NATURALIST PROJECT - SMITH PROJECT NATURALIST photography

Cory Michael Smith Cory John David West by text

UPT 120 Ihad the pleasure to meet with Columbus, Ohio native Cory Michael Smith at e Norwood Club on 14th Street in New York City, “a home for the curious” according to its online vision statement. at could mean so many dierent things, but for me, “curiosity” centered on this young, up-and-coming actor who seems to be on the fast track to fame. With the same nerdy manic energy of Edward Nygma, his character he plays on Fox’s Gotham, he rushed in wearing a gray jacket, a buttoned-up striped shirt, and matching gray slacks short enough to show that he wasn’t wearing socks with his brown dress shoes.

As he sat down, he apologized for being overdressed and explained that he was going to a business meeting with a couple of buddies who were presenting an app that they had created. While he had nothing to do with the app, he was going to support his friends, as they’re shy and he’s —well, he’s an actor. An actor, who, in just the past couple years, has worked with some of lm’s big names including Frances McDormand, Cate Blanchett, and Rooney Mara.

It was easy to fall into a conversation with this chill guy, who like me is from the Midwest, shares a love of theater, and studied both acting and music. is actor’s actor is enjoying a career with divergent roles that range from the “good intentioned,” comic book character turned murderer in Gotham to playing the tortured, suicidal Kevin in last year’s Emmy nominated miniseries Olive Kitteridge.

JDW: Last fall, you appeared in both the HBO mini- CMS: No, my mom is a nurse, my dad was a manual la- series Olive Kitteridge—which was great—and the TV bor guy, and now he manages manual labor. [We are] very series Gotham. It seems like you’re on a fast-track tra- blue collar. It’s wonderful. But, I went to L.A. and I was jectory to fame and success. like I have to get a job to pay my bills and then I booked Gotham six weeks later. CMS: Really? It doesn’t feel that way to me. JDW: Jesus, that’s really lucky. You’re very fortunate. JDW: Did you also shoot the feature lm Carol during Olive Kitteridge and Gotham? CMS: Yeah, it’s very fortunate. But it’s been interesting. e rst season for me was not so exciting character wise CMS: We did Olive before and then I was lming Carol— until the end. So for a while, the new challenge has been which come out in December this year—around the same managing my creative life while having a job where I am time I was lming the pilot for Gotham. Aer I nished essentially on call every day but I’m not actually needed Olive Kitteridge, I came back to NYC for a little bit. It was every day. So my thing now is how to be a creative person winter and I was running out of money. So, I gured out in this new scenario—which is a lovely scenario. a way to have someone live in my apartment here and pay all my bills. I was just gonna go and live for free in JDW: So how do you do it? L.A. on people’s couches. I was fucking determined to not get another day job. Because the toughest part of getting CMS: I’m trying my hand a writing some stu. It’s really started in this business, I think—unless you are indepen- hard. Most of what I write goes into the trash can. dently wealthy—is to do a creative project and the second it ends, you don’t have income. en you have to get an- JDW: In the second season, your character [Nygma] other day job, and you have to go to that job without tell- takes a massive turn. Did you know that was going to ing them that if something happens tomorrow, you’re go- happen? Did the writers know? ing to leave in a second. So you start something and then in two months you have to quit. It just pisses people o. CMS: e format of the show is always changing and continues to change. Season two feels quite dierent. We are JDW: at’s the problem for so many struggling actors. starting to get this swell of major criminals and long dra- Were your parents in theater? matic scenes. It feels more like a drama than a serial.

sweater: ASOF GANOT PRADA shirt & jacket:

JDW: So, your character is becoming more dimension- JDW: You’ve done a lot of theater. I know TV and theat- move on. al? er are two completely di erent beasts. CMS: Yeah. Especially aer Olive Kitteridge, because it was CMS: We nished the season where you witness this mo- CMS: Completely dierent. such a painful role and dicult to do. When you do that ment of psychosis with my character as he’s kind of losing in theater, you have an audience there kind of supporting his mind. He’s confronting two sides that are part of him JDW: Do you miss doing theater? you. You know why you’re doing it. e torture is purpose- where he wants to be a good guy, but it’s just not work- ful. Sometimes you take on a role, you’re like “Oh, wow my ing for him on any level. He wants to be liked at work. CMS: Absolutely, I miss doing theater. I had workshopped job is being a masochist.” But you feel like you’re doing it He loves his work but he keeps getting into trouble. He’s and helped develop this musical for a year and a half that’s for a reason. I don’t necessarily feel that on TV. obsessed with this girl, arguably in love, and she doesn’t playing right now, that I couldn’t do because of my lm get it. So, at a certain point you have to ask what is wrong schedule. JDW: Are you having a bit more fun shooting season with me? All these good intentions are not working. He two, acting wise? has to start asking himself that. It manifests itself in sort JDW: What’s it called? of a schizophrenic dialogue. CMS: Totally more fun! My role in the police department CMS: Prelude. It’s about Rachmanino in his twenties. e and in the show is completely dierent. In season one, I felt JDW: Well, he has already killed someone and disposed writer and director are brilliant. I was pretty crushed that I like I had a ten thousand piece puzzle and all I could do of the body. couldn’t follow through and do the production. But that is was ll in the border. It was tedious and kind of exhaust- the reality. So, yeah I miss theater. Maybe it’s because I did ing, but necessary. We laid the foundation for this genuine CMS: (laughs) Yes, he has killed someone. It was very it rst, but the experience of performing live and having guy as he was silly and adolescent. Jinx. It was funny, the night before I’m supposed to lm someone there: that exchange of energy is really invigorat- the nale [of Gotham], the nale of e Jinx airs, which ing. I think I prefer that experience of storytelling. As a JDW: You’re doing your scales. is the moment where [Robert Durst] is in the bathroom consumer when you’re going to see a lm, it’s the rst time talking to himself. And I’m to be alone in the records you’re seeing it and it’s exciting, electrifying. But for the CMS: Yeah. I’ve learned that I’m impatient. It’s a gi to be room talking to myself, I have killed someone, I have dis- people who made it, you don’t get this same experience. It’s able to tell this story in television. Accepting that it actu- membered them, and I’ve gotten rid of their body. I have this really weird vacuum. [you feel] disconnected from the ally takes time, you just want to get to the exciting stu. confessed to someone and now I’m confessing stu and consumer, the person for whom you’re making it. talking to myself alone in a room! is is fantastic. I am JDW: Did you walk away from Olive Kitteridge feeling Robert Durst. I’m a geeky—geekier Robert Durst! JDW: Sure, you lm it: then it’s gone, done and you like you grew? Were you di erent aer you nished?

UPT 122 “ “I feel comfortable when I swing down. It just feels right to me. I feel like my joys are more real. In recent times, I laugh more when I’ve been pretty low.”

jacket & pants: PRADA t-shirt: CALVIN KLEIN sneakers: STRANGE MATTER CMS: Yes, when I nished that project, I felt like I had be- Rooney Mara’s characters while they are on a road trip and I for ve months. ere was this time when I was super quiet come a better actor. I was very proud of that work. It was just keep running into them. and disengaged. ey sat me down and asked if I was ok and dicult. I lmed all of it in three weeks. Not being in New they told me that my mother had warned them that at times York, being in a weird hotel room in the north shore of Mas- JDW: How’s Cate to work with? when I get disengaged, that those are times that my sadness sachusetts and not knowing anyone else in the production, might get overwhelming. and playing someone who is suicidal. CMS: She’s very intense—such a professional, so skilled and JDW: You mean overwhelming to others? experienced. She sweeps into a rehearsal and she’s ecient JDW: Was it is intimidating working with Frances McDor- and present and demanding—in a good way—of the director CMS: Yes. I was like, “My mother said that to you?” mand? and the other actors. JDW: You didn’t know that your mother knew that? CMS: It was really exciting. I was nervous to work with this JDW: She’s prepared and ready to work? caliber of people. I knew that they were taking a chance in CMS: She never talked to me about it. It’s just these things hiring me for this job and not someone that had more noto- CMS: Yeah, she’s a workhorse. I certainly learned a lot from that parents know. She just warned them that I get like that riety or stature. So, I felt pressured to deliver a kind of per- her demeanor on set. I don’t know how to explain it but she and that it’s not about them. formance that was worthy to be alongside Frances, Richard has this austere presence. She’s very open and kind but there’s Jenkins and Bill Murray. It was terrifying in that way, but I a level of intensity that makes everyone watch and listen for JDW: Acting makes actors open, sensitive, it forces them loved this character so much. I felt like I had a very clear idea her move. to explore things [for a role] that other people because of who he was for me —the Kevin Coulson who I thought they are non-actors don’t have to do, they don’t have to the story was about. I liked the character because he was JDW: She has that extra thing. face themselves. incredibly tortured but he doesn’t lash out at anybody. It’s all self-inicted. He’s [a] fragile person who is slowly being CMS: Yeah, she walks into a space and her energy is boom! CMS: I guess that’s the addiction to humanities. We get the eaten away by his own demons. He refuses to ask for help Her vibration is the most intense in a room. Also, she’s tall time to think and feel and that’s the job. and he refuses to lean on anybody. at to me is fascinating. and stunning. And Rooney is super quiet; she’s very inde- Someone that won’t hurt anyone else, in fact, saves someone pendent and easy going. e two of them are both very in- else’s life, as if that has massive value and his [life] doesn’t. It’s tense in a complimentary way. ( e End ) interesting and truly tragic. I felt like I knew him. JDW: I watched you in Olive Kitteridge and then immedi- JDW: e [character] was in place before you started ately watched you on Gotham. It was a nice contrast; Ed- shooting? ward Nygma is such a di erent character from your character in Olive Kittridge. CMS: Yeah. When we started shooting the car scene, which starts episode two with Frances and I. We spent two days sit- CMS: Denitely. I do, however, miss playing the tortured ting in a car together. people. Is that horrible? It was so hard for me but I miss it.

JDW: How was that? JDW: Perhaps it’s cathartic? Maybe you get to exercise something. CMS: Well, I was much better the second day working with her. I’ve gotten to work with some massive stars and it’s a CMS: Hm, Maybe? I had a professor say to me, “you’re only little debilitating at rst because you’re trying to get past the going to be as happy as you are willing to experience darker [thoughts of] “You’re my favorite actor! You’re an inspira- emotions.” I feel comfortable when I swing down. It just feels tion.” You almost want to just say that, so you can then say, right to me. I feel like my joys are more real. In recent times, “alright, now let’s work.” I didn’t do that and I’m sitting in this I laugh more when I’ve been pretty low. car with her and I just want to ask, “What are you doing?” So, I found myself staring at her for while. It took me a second to JDW: I remember watching Jim Lipton interview Jessica realize this is not appropriate. Lang on Inside the Actors Studio; by the end, I got a sense that she’s ultimately a sad person. Can you relate to that? JDW: (Laughs) Let’s talk about Carol. I read that you play a charming salesman. Anything else? CMS: Yes. I think the biggest marker is that I’m always aware grooming: RIAD AZAR using ORBE of how carefree other people are. How much happier people producer: CHELSEA MALONEYSEE MANAGEMENT CMS: All I can say is that I’m a traveling sales man who’s a are in an easy way. I’m aware of how other people laugh more stylist assistants: PAGE SCHULTZ little odd...and charming. I meet up with Cate Blanchett and easily. I have this chosen family in New York who I lived with special thanks: SCOTT BOUTE SERGE PR

UPT 124 coat: Asaf Ganot t-shirt: Calvin Klein

UPT 125 illustration by India “walking herself like a dog” India Salvor Menuez

text by Ann Larsson photography Hao Zeng styling Romina Herrera Malatesta

New York native India Salvor Menuez grew up in a fantasy world of her own that later blossomed into a creative collective that she started with a couple of friends at age een. Nowadays, she is mainly focusing on performance with topics such as Ecology and Equality on her mind. I talk to her about bohemia, Naturalism and norm-breaking fashion and her upcoming projects, including the performance series “BOOKLUB” at the MOMA, two feature lms she co-wrote, one of which she co-directed as well, and also, her continuing work with her performance alter-ego CHIBI CHERRY.

AL: Can you tell me a bit about your upbringing and and cycles, and I am a sucker for satisfaction. And I struc- where you found your interest in arts? ture my performative work always with room for and a reliance on improvisation, so that leaves some looseness ISM: I grew up in New York with young, reason- “ akin to the bohemian way. Looseness keeps things ably cool parents and I am always grateful for alive and moving and also leaves room for failure, in- the open-mindedness they raised me with. I was “In a realm of vited with open arms. is is an attitude I adopt from an only child till I was 12, spending most of my people I look up to, like Vaginal Davis; I always loved time in the fantasy world of my head. I drew a equality NATURALIST PROJECT - MENUEZ PROJECT NATURALIST Leigh Bowery’s quote: “Embarrassment is the unex- lot and was always working on some kind of art everyone is plored emotion.” Ideas about availabilism that I have project. We didn’t have a lot of money, but when learned from following Kembra Pfahler’s work have you are a kid, a cardboard box and some markers granted the become important to me in this approach to materi- is enough. I think I developed a notion of “avail- same rights and als too. At the moment at least, I don’t have anyone ablism” early on before more recently, learning but myself funding these performances, so my mate- about the idea which now, still really resonates. judged only for rials are limited but in the spirit of availabilism I can their actions. celebrate this limitation in pushing the materials I do AL: Some of your work has a Naturalistic sen- have to do the most they can for me. It has it’s big city sibility; a kind of traditional bohemian vibe Differences energy because that is where I am, that is the realm in mixed with big city energy. Can you tell me a which I am gathering these materials from. bit about that? should be celebrated, AL: What is your favorite medium to work in at the ISM: I think trying to keep things natural mani- moment? fests in how I approach materials and in how I not dwelled structure my performances. For example with upon.” ISM: Performance. Because for me it feels the most my soymilking work, I am not just using the milk direct and scary. As a medium it feels the most aware as a visual tool, I am thinking about the unique and in acknowledgment of the fact that there is no journey and symbolic value of the material as it pure viewer, that, as in quantum physics, a viewer is is. A lot of my favorite art is strong to me for its ability to use actually a participant, even if only latently. To me this ac- bracelet: MARA CARRIZO SCALISE its materials to its full potential. I think a lot about energy knowledgement is very important.

UPT 126 photographed in New York, N.Y.

bracelet: MARA CARRIZO SCALISE

AL: What are issues you wish to bring up, and thoughts you want to provoke with your art?

ISM: e world has a lot of problems, but also oers a lot that still glimmers, feeding the fountain of hope in me. e big ones for me are Equality and Ecology. If what the second-wave feminists said is still true, (which for me it is), that the personal is political, then everything I make in my daily attempt to explore and expand my personal ethics, should communicate and be in action of that.

AL: What is Equality to you?

ISM: Equality should be simple. In a realm of equality everyone is granted the same rights and judged only for their actions. Dierences should be celebrated, not dwelled upon. Not understanding where a person is “coming from” should never be an excuse to disrespect or discriminate. If someone challenges my understanding of a what a person can be, I am grateful for the opportunity to expand my understanding.

AL: And what about Ecology? How do you integrate that as a topic in to your art to provoke a possible conversation?

ISM: I enjoy the idea that confusion can be a tool of coun- terattack consumerism. For example with social media, when we follow each other we subscribe to the brands we now have created for ourselves; as the number of follow- ers, like stocks, rise there grows a real commercial interest. But because “everyone” uses the internet and uses it so intimately, we now experience advertising alongside personal information. Which is totally perverse, invasive and oen subliminal, but also can keep things in perspective. It is disorienting to see a glossy campaign image, next to one of natural disaster, next to a maybe “tmi” sad-girlsele. e danger is in nding your feet in this information- whirlpool. But i think there is a very particular apathy that grows from this and leaves one quite uninspired to shop. Playing with this idea in the experiment of craing an online identity allows us to throw wrenches into the stream of information, in hopes of getting the consumer-follower and the consumer-self to stop and question the feed.

AL: I read that gender- and norm- breaking issues are something close to your heart. What are your thoughts surrounding that?

dress: THREE AS FOUR sweater: PETIT BATEAU necklace, bracelet & rings: KRIA UPT 128 dress: RED VALENTINO sweater: PETIT BATEAU shoes: THREE AS FOUR necklace, bracelet & rings: KRIA

UPT 129 ISM: I think I could and should be breaking down “the norm” a lot more. I am actually constantly berating myself for not being radical enough, but I also don’t want to make a statement where someone else’s voice should be heard. ere are a lot of other people living against the expectations of society in a much more brutal way then I have to. I am not always OK with being a woman but being in conversation with that emotion is at least an interesting and important trajectory. Look at me in this editorial for example, I wanted to wear more from brands that look past the traditional ideas of dressing to gender, brands like Moses Gauntlett Cheng, Gogograhm, Vaquera & Eckhaus Latta, but as things in fashion oen go, it didn’t work out…

AD: So what are your thoughts on fashion as art?

ISM: If you are really obsessed with what you make, and pour your soul into it, anything can be art. I oen consider many of the meals my partner Jack Shannon cooks to be perfect works of art.

AD: Absolutely! Although fashion can, but doesn’t necessarily have to be a statement of sorts. For example, you mentioned brands earlier that you would have liked to wear in this feature for reasons that are beyond the aesthetics of the clothing. So where do you draw the line between pure aesthetics and thought provocation through “style”? Or, how do you make them co-exist?

LSM: I think visually and my parents always let me wear anything, so it is a big part of how I see and understand things, especically identity. I am very sensitive to the styling of things. I don’t know where I draw the line between pure aesthetic and theory based style, because maybe I don’t believe in pure aesthetic. Even if an image seems to be saying nothing, silence is an indication of its own. e thing about reading those indications from an image, is that the intention doesn’t always translate through; and with the rise of appropriation through globalization, it becomes increasingly convoluted to nd style generated directly from provocative convictions.

AD: What have been some of your favorite past collabo- rations?

LSM: Working on my rst role in a feature lm with Ol- ivier Assayas was kind of a dream of an entry way. He worked us actors like porcelain, with a perfect combination of a rm hand moving delicately. Later working with Maiko Endo to co-write Technology, “favorite” feels too

top: DROME sweater: PETIT BATEAU necklace, bracelet & rings: KRIA dress: BLUMARINE scarf: SALVOR sweater: PETIT BATEAU necklace, bracelet & rings: KRIA

UPT 131 top: DAVID MICHAEL sunglasses: INDIA’S OWN

UPT 132 so a word to describe the essential sensation of making that lm happen... And more recently creating the score for “the world of CHIBI CHERRY” with my dad Ross Menuez (aka RAWS aka Various Ways of No Way).

AD: You have been fortunate to travel to some really inspirational places for work such as Iceland and India…

ISM: I feel very aware of my privilege when I am able to travel as I do, though almost always for work in one way or another. Because New York is such a bulls eye for so many dierent people, and oen people who are shaping the world the most, it is easy to think New York holds everything. But getting away is always an important reminder of the relativity of that “center point”, it’s my re-set button. I have a few very close friends who live in other countries and are far removed from the New York scene I associate with, to be in conversation and collaboration with them feels important to a process of broadening the relevancy of my art.

AD: Do you have anything fun coming up that you can share?

ISM: We are in post-production on two features I co-wrote, one of which I co-directed as well. ese are kind of the biggest projects coming up that I am excited about. Also bringing my performance series “BOOKLUB” to MOMA under the context of 8ball’s “the Newsstand” is just crazy, surreal and SO exciting. I am continuing a lot of work with CHIBI CHERRY, both performative and video, so that is nourish- ing. Editing together a fat drive of footage from a trip I did shooting BABY SKIN dance collective during their resi- dency at the Freezer in Iceland. Hopefully I can go to some festivals with some lms I acted in in the last two years that are almost done now. I keep pretty busy…

( e End )

skirt & top: BLUMARINE tie: RED VALENTINO sweater: PETIT BATEAU necklace, bracelet & rings: KRIA hair: LINDA SHALABI @ SEE MANAGEMENT using ORIBE makeup: MARK EDIO SEE MANAGEMENT using CHANEL director of photography: THIERRY JEAN styling assistnats: ANNA DEVEREUX & KENGIE ARROYO special thanks: SCOTT KENYON to view video footage from the day go to www.utpmag.com UPT 133 Peter Vack text by Danielle A. Jackson photography Dennis Golonka styling Romina Herrera Malatesta

ative New Yorker Peter Vack is an emerging indie darling, Renaissance man and burgeoning Nauteur, with an increasingly compelling voice in the art world buoyed by a growing resume of acting, writing, and directing credits that are a testament to his discerning taste and wide-ranging inuences. Not yet thirty, (Vack was born in the West Village in 1986), the handsome artist is oen mentioned with other New York-based creatives of around the same age: Jemima Kirke, Greta Gerwig, and Lena Dunham, whose Girls entered the zeitgeist only in 2012, dragging all of its highly educated millennial angst with it. He doesn’t yet have the name recognition of Dunham, and unlike her, Vack is so far reticent on the social issues that peak through some of his work. (He plays a small role in the Sundance Grand Jury Prize winning Fort Tilden, which despite eorts to make fun of privileged hipsterism and the uncomfortable dissonance of gentrica- tion, seems to indulge in it without real engagement or critical examination.)

photographed in New York, N.Y. NATURALIST PROJECT - VACK - PROJECT NATURALIST

bracelet: MARA CARRIZO SCALISE t-shirt: DSQUARED2

UPT 135 suspect that Vack’s fame will grow. Born Ito parents working in lm and educated in New York City private schools and USC’s School of Dra- matic Arts, Vack has worked steadily since childhood, starting with the short lms Dear Diary and A Bedtime Story, and perhaps most famously in the long-running soap opera As the World Turns as Casey Hughes. Vack has long divided his creative impulses between acting, writing, and directing. Just last year, his own short lm Send at SXSW and the Amazon Prime original series Mozart in the Jungle, in which the artist plays alongside Gael Garcîa Bernal.

“ “There is nothing I love more than to get together with a group of people who I respect and make something as a group.”

jacket & t-shirt: DIOR

UPT 136 STARLING SILVER SILVER STARLING

necklace: WOOD WOOD pants: DIOR shirt :

UPT 137 DJ: How do you decide whether or not to take on a role? What PV: If the character I am asked to play is close to myself, then the types of characters do you like to play? process is more intuitive and it is not necessary to create an elaborate backstory. If I am playing a person who has a background that PV: I am drawn to projects that display a unique voice. I would is very dierent from mine, then, yes, I will spend time thinking rather take one line in a lm or play that is fresh and attempts to deeply about their experiences and honing in on details from their say or do something that I have not seen or heard before than to past that will be evocative for me when I come to play the scenes. be the lead in a project that feels like it was written by a committee But usually if the script I am working from is well-written, then I whose chief goal was to make money. I am most excited when I don’t have to do too much of my own inventing. If the writing is get the opportunity to play a character that is nothing like myself. good, then this work has already been done by the writer, and my It is hard to adequately describe how exhilarating it is to be given job as an actor is to absorb the script into every ber of my being the opportunity to say and do things through a character that I, as and act without too much intellectual interference. If the character Peter, would probably never say or do. has a physical quality that is a departure from my own – like an accent or an injury – then this must be researched and rehearsed as if DJ: What’s your process like for really learning a character? Do it were a dance or sport. you take a lot of notes to really ll out their stories and histories? Is it a more physical process?

jacket shirt, pants &shoes: MARC BY MARC JACOBS UPT 138 DJ: What inspires you? What makes you want to continue creating?

PV: I am not sure. I oen ask myself this question. Of course, there are artists and individual works of art that I love and make me want to create my own work, but as for that “something more” that drives me to sit in front of the blank page every day and see what comes up, I am still looking to dene that. What I do know is that there is nothing I love more than to get together with a group of people who I respect and make something as a group. Moments of true co-creation have been the most valuable of my life, and I think that I work on myself and on my art so that I can create more opportunities like these.

DJ: You live in Brooklyn, as does most of your family. It’s a huge, colorful, diverse, complex and changing borough. What do you love and/or hate about it? It is suitably supportive of your life as an artist?

PV: I am from Manhattan. New York City is my home. I still have a very naïve and childish love for the city that I hope I never lose, so I love living in Brooklyn. I am always discovering something new about the borough to love. I also love being close to my family. Everyone in my family is an artist of some kind and we are oen working together on projects and that is lucky and fun!

DJ: I enjoyed your short lm, Send, especially the color and lighting choices. It felt intimate and captured something true and human about its characters. Some of my favorite lms are interior like this and reveal broader issues by diving deeply into the personal. Were you looking to achieve this quality? Who are some of the lmmakers who inuence you?

PV: I am glad you enjoyed the lm! All of the decisions in terms of the lighting and the colors for the lm were deliberate, so I am happy you found them eective. In making this Send, I was inuenced by the lmmaker Céline Sciamma; in particular her lms Water Lilies and Tomboy, which are both brilliant. I also love the way Nicolas Winding Refn handled the stage sequences in Bron- son so that was another key reference for me.

coat: DSQUARED2 shirt & pants: DIOR shoes: MARC BY MARC JACOBS UPT 139 1970’s VINTAGE LEATEHR JACKET OF KING’S ROAD courtesy of ALBRIGHT FASHION LIBRARY t-shirt: DIOR DJ: What’s next for you?

PV: I am putting together a feature that is a conceptual continuation of Send called www.rachelormont.com and am also prepping a dark comedy called Assholes that I wrote and will co-direct with my sister Betsey Brown. I am currently acting in the second season of Amazon Prime’s original series Mozart in the Jungle, and I am in a bunch of lms coming out that I am also very excited about: Leah Meyerho’s I Believe in Unicorns can be seen on demand, Sarah-Violet Bliss and Charles Rogers’ Fort Tilden is in theaters as I write this, Harrison Atkins’ Lace Crater will have its world premiere at the Toronto International Film Festival, Clay Liford’s Slash, Hannah Fidell’s Six Years, and Celia Rowlson-Hall’s debut feature Ma, which will have its world premiere at the Venice Film Festival.

( e End )

grooming: ELSA using Orbe Hair Care & Dior Homme photo assistants: SHANE LAVANCHER & MATTHEW BROWN stylist assistants: PAGE SCHULTZ special thanks: MITCHELL at ALBRIGHT DOWNSTAIRS JAY STRADWICK & DUNE STUDIOS shot in New York @ DUNE STUDIOS to view video footage from the day go to www.utpmag.com

t-shirt & pants: DIOR UPT 141

Venetia Scott Venetia

Madison Stephens Madison by text NATURALIST PROJECT - SCOTT PROJECT NATURALIST portrait & photography Venetia Scott Venetia n Conversation with Venetia Scott Venetia with n Conversation I ere are few rocks within fashion’s 21st century elite that glory in unrenement, maintaining their outsider reputations, reputations, their outsider maintaining glory that in unrenement, century elite 21st fashion’s within rocks few are ere de - of a roundtable by manufactured isn’t the sort that of rebellion to and the anti-establishment to connections nursing near a true of these rarity gems, of one is Scott collect. to Venetia bills dollar and push to agendas with editors and signers and fashion ‘90s, which democratized in the early London stormed that the revolution of A gurehead status. mythical in - and photography, work, styling Her elicit. a history could such as authentic and honest as is she hierarchy, its disabled the to key as is when self-marketing age an In society. consumer and fashion in terviewsunusual is franknessthat a reveal rebellion, a societal as of in which drug use still is marker touted produced, the actual as work career a fashion of relevancy modern time a signier counterculture. of eschews socialScott meditative media, considering

publication: W MAGAZINE model: ANNA EWERS photographer: VENETIA SCOTT stylist: POPPY KAIN

UPT 142 MS: You’re somewhat of an elusive character. Aside from a few notable interviews, you’ve largely stayed in the background. Twenty years ago this was the norm, but this sense of mystery has become increasingly rare when so many in fashion choose to be more recognizable (and oen valued) for their social media and street personas than for their work. Of note: I couldn’t nd your Instagram account. Did I not look hard enough? Is mystery important to you, or is it an accidental reaction to the self-promotion that many other fashion inuencers are inclined towards? Is it just what feels natural to you?

VS: My lack of engagement with social media is not an intention, just a lack of interest in it. I have been tempt- ed to take up Instagram, but think it might turn into a monster that needs constant feeding and attention.

MS: How did you become interested in fashion and creating images, what’s your background? How did it lead you to your rst job at British Vogue?

VS: I went to a very dreary boarding school from a young age, which probably fueled my imagination. Since I was 13, I wanted to work in the fashion room of Vogue.

MS: Aer you le Vogue, you found a footing in the anti-establishment. is so-called “fashion origin story” resonated with me as you seemed to nd your niche in the deconstruction of the hierarchy, of the unraveling of fashion as this institution of good taste. What made you rebel against it all? Did you have a support group of other contemporaries feeling the same sense of revolution?

VS: I think it was less of a rebellion than a newfound sense of freedom from institutions. I enjoyed being freelance and not having to toe the line, I enjoyed the lev- eling out of hierarchy. It was an exciting time and felt as if we were shaking up established formulas and letting in some fresh air.

MS: I think it’s hard for the current generation to understand that before this movement, fashion was strict and exclusive, that there were rules and that they were not to be broken. We all know that Comme des Garcons and Margiela shook things up with black and with subversion, but I don’t think we fully ap- preciate that at that point, fashion equated to a label and a trend and about tting an exact mold that was

top:Vintage Pucci

UPT 143 matched by a Trinity of supermodels and that that was it, that was beauty and it was almost the end of the discussion. Today we have Tumblr and everyone can learn the ins and outs of a subculture without leaving their parents’ living room, and that’s the basis for material and products that are “cool” and market- able now, which is a complete 180 from the period you entered fashion in. Can you explain exactly what anarchy was then, what it meant, and how it was received? How did it translate in editorial? Were you and your collaborators aware of the impact of what you were creating?

VS: ere was a sense of challenging the idea of beauty and introducing people who had a sense of fragility, freedom, imperfection; an empowerment, which had nothing to do with status symbols. Eighties’ fashion prior to this had touted the untouchable, polished, uber model and the new aesthetic broke this down and pushed characterizations that you could touch and em- pathise with. ey were free of materialism. In terms of editorial, it did not go hand in hand with advertising at that point, so we were able to shoot young designers and introduce vintage clothing, which gave a reality to the pictures. e Face, Arena, and i-D gave us the pages to express what we wanted and not compromise. ere was an exciting movement going on in London. e teams involved were working independently, but had a common thread, which was to alter the ideal.. “ “I don’t feel I have to ght, but I do have a constant battle with myself as to whether work is good enough or as good as it can be.”

publication: ANOTHER MAGAZINE photographer and stylist: VENETIA SCOTT Model: CAROLINE TRENTINI top clockwise publication: SELF SERVICE model: MELISSA BELL photographer & stylist: VENETIA SCOTT publication: ANOTHER MAGAZINE photographer & stylist: VENETIA SCOTT model: HILARY RHODA publication: BRITISH VOGUE photographer VENETIA SCOTT stylist: BAY GARNETT model: GEORGIA MAY JAGGER

MS: What was your aesthetic, who was your girl (or ment, did you move on, or did you feel pigeonholed boy)? What did you imagine for the stories you were into a certain aesthetic? I can imagine that would feel creating, where was it sourced? somewhat heartbreaking if you felt invested in it as anarchic. VS: My girl (or boy) is the same now as then. Bold, open, warm, not too self controlled, and ready to work. e VS: Ideas or images that are interesting have a tendency source could be movies, stories, photographs, memo- to be adopted into the mainstream. is pushes you to ries, nature and people I meet. explore other territory, which moves things forward.

MS: You’ve said your original work’s goal was “to con- MS: Was your rst big sort of (I hate to call it this, vey the spirit of somebody.” So much of fashion re- but) “I made it” moment the Marc Jacobs contract, or volves around illusion and becoming an ideal rather did it come earlier? Fashion can be so competitive- do than celebrating an individual for what and who they you feel like you still have to ght to stay on top of actually are. How were you able to meet your goal, your game? what was the process like? How has it changed, and how do you see it evolving in the future? VS: I have never really been interested in a career trajectory, but the Marc Jacobs contract came at a good time VS: ‘ e spirit of somebody’ might be a ctitious some- and continued for 14 years. I’m competitive with myself, body that I have thought up. I need a subject who will be not with other people. I don’t feel I have to ght, but I do open and willing to understand, project and collaborate. have a constant battle with myself as to whether work is Nothing has changed for me in this process. good enough or as good as it can be.

MS: Aer the fashion backlash out of London was co- opted and commercialized into an advertised move-

UPT 145 MS: You’re now focused on photography. Did you get MS: How do you see your aesthetic changing and ex- tired of styling, or did you become disillusioned with pressing itself further? that aspect of fashion? How did the switch happen, and was it inspired at all by your former partner, Juer- VS: It is more of an evolution than a change of aesthetic. gen Teller, and his passion for his work? Maybe it’s like getting older, you are still essentially the same person but you have a dierent perspective on VS: I still enjoy the styling aspect of image making and things. I nd by marrying the styling and photography side, it helps to tie everything together. When Juergen and I MS: ere is an honesty and sincerity in all of your were together we had a deep understanding of what each work. It’s very refreshing. With so much of current other wanted. When we stopped working together, I felt fashion work being fueled by advertising dollars, do I was probably better at interpreting my thought process you have to make a conscious e ort to maintain that than someone else. authenticity? Further, have you distanced yourself from fashion in any ways for these reasons? MS: You’ve said that you’re “bored” by what you see in magazines today. is discontent, has it always fueled VS: I’m a hopeless liar, too transparent. I like to work you? As a stylist, and now as a photographer, do you with a small team of people that I can trust and can be channel that into your work? open with. I have no reason to disconnect myself from an industry, which I love and have enjoyed for over 30 VS: Discontent does not fuel me. I try not to channel years. It’s less distracting not to be in the thick of it! what other people are doing into my work, I prefer to work in a vacuum. MS: Many people, especially those in print, can be terried of the future, in all of its forms, and the MS: I feel like we’re in the wave of another major fash- rapid onset of new technology. For your line of work, ion revolution, there’s a huge backlash against good for instance: the switch from lm to digital, and from taste and what is universally regarded as “status,” print to digital. How do you envision this changing which is likely happening in tandem with the riots, the landscape of fashion and of photography? Are and protests, and general sense of upset and revolu- you hopeful or fearful, and what are your wishes for tion within mainstream culture. At the time of your the upcoming generation of those you’ve inspired? fashion coming of age, were there other events happening outside of the industry that inspired your VS: I prefer not to look too far ahead. ere’s enough sense of change and urgency? going on every day. I still shoot on lm as well as digital. My hope for the next generation is not to be too driven VS: At the end of the 80’s the consumer bubble burst, by materialism. recession hit and there was a rise in unemployment. e Berlin wall came down, there were revolutions in Roma- MS: What is radical now? nia, Czechoslovakia, and Poland, and the Soviet Union was dissolved. Global warming became an issue and VS: Leaving time to think. people were dying of AIDS every day. e feeling of in- destructibility and power had gone and there was a new era of vulnerability, but also freedom. I think all these ( e End ) events contributed to the image making of this time. It became less about owning things and more about human interaction and shared experiences. ere was a backlash to the aspiration of wealth, jobs, and status. De- signer handbags and high heels no longer seemed cool and were replaced by Birkenstocks, t-shirts, and long skirts. e drug was ecstasy and the rave culture took over. Kate Moss was the poster girl for this new sense of fun and abandon and the existing establishment started to look old-fashioned. publication: ANOTHER MAGAZINE photographer: VENETIA SCOTT fashion: MARIE-AMÉLIE SAUVÉ model: LINDSEY WIXSON

UPT 146

USA

Richard Burbridge Richard

portrait

photographed in: N.Y.C. photographed in: N.Y.C.

Lisa Dotson Lisa

NATURALIST PROJECT - SVENSSON PROJECT NATURALIST

text by Johan Svensson Johan f you pay attention to magazine mastheads at all you will have seen JohanI Svenssons name on some of the most respected titles in the industry. From Big, to Harper’s Bazaar, Jane, Vogue Paris and currently W Magazine his talent and career have made him one of the most inuential Art Directors in the business. He has collaborated with the best of the best. From photographers and stylists to models and hair & makeup artists, he is constantly raising the bar in design and visual experience.

Hoping to always surprise and interest the reader in a new and exciting way, he makes us all want to create something beautiful and original. Based in New York, I caught up with him with a few questions about nature and inspiration...

above - March 2011 Well Opener: VOGUE PARIS UPT 148 t shirt: CALVIN KLEIN UPT 149

left LD: Where were you born? LD: Where did the interest in design, fashion, typography W magazine photo:Mario Sorrenti come from? style: Panos Yiapanis model: Malgosia Bela JS:Stockholm, Sweden JS: First of all, growing up in Sweden makes design a fair- Vogue Paris LD: How were you inuenced by nature when you were ly natural interest. It is a very design conscious place. Not photo: Steven Klein editor: Carine Roitfeld growing up? everything is well designed, but pretty much everything is style: Marie-Amélie Sauvé designed. In addition to that I come from a family that is model: Lara Stone JS: I think I might have rebelled against anything to do with pretty creative, and grew up around lots of art and artists,

bottom nature when I was growing up, mainly due to my ornitholo- and beautiful books. It just seemed like the natural thing W magazine gist father. So I set out to know nothing about anything to to do, to follow that path (if in a more commercial way, but photo: Peter Lindgergh do with nature, and I am suering the consequences of that still…) style: Sarah Richardson policy today. But that probably counts as some form of get- models: Natalie Westling & Sasha Pivovorova ting inuenced, too, in a reverse kind of way.

UPT 151 LD: How does your background inuence your work today?

JS: More recently, if still a long time ago, I worked a summer for Alan Fletcher at Pentagram Design in London where I was taught the importance of design being functional and making sense. Later, I worked with Fabien Baron at Harper’s Bazaar, where it was all about beauty at any cost. I would think that my philosophy has ended up somewhere right in between those two, and I try to make things as beautiful as I can while always keeping the end user in mind and making things as functional as possible.

LD: Do you have examples in the process of your work that happen naturally? Are there any accidents that you end up moving forward with in either photography or design?

JS: I have been doing this for so long now that I think most of it happens naturally. Or at least that is how it feels. And a big part of my process is to allow for accidents to happen and seeing which ones lead somewhere good and then going in that direction.

LD: How do you nd nature living in New York City.

JS: I think New York is its own special kind of nature by now. A man-made and strange kind of nature. So in a way I think you nd nature everywhere. But in a more conventional way of thinking, New York makes me happy for nature as it is in many ways a much more environmentally friendly society than one where the people are spread out over huge areas all in their own houses where enormous resources are wasted on trans- portation and heating etc. So living in New York makes me constantly conscious of nature preserved elsewhere.

LD: What are some natural instincts?

JS: I hope loyalty and integrity are natural instincts. ey could possibly be learnt, but I believe you have to have some of it in you naturally to begin with.

LS: What inspires you?

JS: A lot of things inspire me, but if I had to choose one, it would be my kids (well, if I had to choose two, then).

( e End )

left: VOGUE Paris photo: INEZ & VINOODH styling: EMMANUELLE ALT UPT 152 top left to bottom W magazine photo: Steven Klein style: Edward Enninful model: Kristen McMenamy

W magazine photo: Paolo Roversi style: Edward Enninful model: Saskia de Brauw

W magazine photo: Steven Meisel style: Edward Enninful model: Gigi Hadid

UPT 153 NATURALIST PROJECT - CLAFLIN PROJECT NATURALIST

sweater: JEFFREY RÜDES UPT 154 Sam Clain

text by Laura Antonia Jordan photography Maurizio Bavutti styling Romina Herrera Malatesta photographed in: Brooklyn, NY. USA

o say Sam Clain’s star is rising seems woefully inadequate; rocketing wouldT be a more appropriate term. Certainly there’s been nothing steady about the British actor’s career path to date. Just months out of LAMDA he was notching up the parts in prestigious TV shows, chasing this up with scene-stealing roles in Hollywood blockbusters like Pirates of the Caribbean: On Stranger Tides and Snow White and the Huntsman. Clain, 29, isn’t someone who’s about to rely on a megawatt smile and ‘nice guy’ reputation to keep stoking his career, however, if you’ve seen his turn in e Riot Club, you’ll know he’s not afraid to do nasty.

It’s Clain’s recurring role as the chiseled Finnick Odair in e Hunger Games series, however, which has really positioned him teetering on the edge of superstar status (just a cursory glance at the comments on his Instagram shows you the kind of mega- fandom a role like this will get you; ‘My future husband’, ‘You’re so cute’, ‘Love you so much’, the ubiquitous heart-eyes emojis). And yet despite Clain’s very not normal career, he himself has somehow remained resolutely normal, preferring nights in with his wife or at the football with his old mates, to party hopping and red carpets. In fact, he seems faintly bewildered by the whole fame thing, insisting in typically understated fashion that he’s not interesting enough to warrant that attention. Watch him in something and you’ll most likely disagree with him on that. Clain exudes that indenable yet utterly unmistakable X-factor, which tells you maybe he won’t be able to dodge that attention for much longer. I spoke to him from Berlin on the eve of the world premier of the nal Hunger Games installment, Mockingjay Part 2. sweater: KENT & CURWEN

LAJ: It must be an exciting time for you right now. see them or hang out that much. It’s been nice to see eve- LAJ: What do you miss most about London? ryone and catch up, reminisce and remind ourselves of SC: Yeah more than anything it’s just good to see every- what we did a year and a half ago. And I’m excited for SC: Hanging out with loved ones really. It’s just catching body again because we nished lming about a year and everyone to see it. up, talking; that to me is priceless. You can’t put a price a half ago and then promoted Mockingjay Part 1 last No- on sitting at home watching crap TV with your wife! It’s a vember, so it’s been a long year without seeing everyone LAJ: Do you tend to stay in touch with people aer rarity, but something that I cherish. everyday. lming? I imagine it to be a very transient existence. LAJ: You’ve been involved in huge franchises and yet LAJ: How does it feel to revisit e Hunger Games aer SC: I do but what I quickly realized aer my rst job is you’ve become Daily Mail fodder. Is that a conscious ef- all this time? I get the impression it’s quite a fun set. that every other actor goes on to another job immediate- fort or just something that happens to have eluded you? ly aerwards and meets their new family. You know what SC: You know what, the actual process of lming itself was I mean? It’s weird. We try to keep in touch but it’s dicult SC: My theory about that is I’m not looking for fame. ere incredible, a lot of fun – probably too much fun at times! because everyone has so much other things going on in are so many people, as you call it the ‘Daily Mail fodder’ But at the same time we all worked pretty hard. When their lives. I have my home life, my wife, my dog, all my for example, who are seeking fame who will choose to do we came back last November for Mockingjay Part 1, the friends and my family in London that I barely ever get to reality TV in order to get a higher prole and educate the premier and press stu for that, it was like revisiting old see when I’m away lming so I spend my life trying to masses about what they’re doing from day to day, whereas friendships. So many of them live in LA so I don’t get to catch up with what I’ve missed. I like to keep my personal life personal. My career is abso- tank & silver chanin: CALVIN KLEIN pants & coat: BURBERRY lutely a platform to enjoy but that’s not who I am. Who I SC: I denitely think generally it’s harder for women. I been quite an insecure person, quite afraid and paranoid am is who I am behind closed doors. I’d hate to think that have a wife and I’ve witnessed the kind of scrutiny that a about what people think. It is one of those things where I loads of people would be judging me on what cereal I buy. lot of women have to deal with. Even young girls having to wish I had a little bit more self-condence. I’m sometimes I don’t think my life is interesting enough for the Daily aspire to a certain look or a certain way of living, I think afraid to speak up if I’m unhappy. I think for me, it would Mail to be bothered either. that’s wrong. I turn up to an event in a blue suit which is be to ght my ght and say what I believe in. At times I’ve nearly identical to the blue suit I wore the week before – always wanted to be perceived as the ‘nice guy’ but you LAJ: Well they seem bothered by some pretty boring in fact I could wear the same suit and change the tie and realize that not everybody’s always going to like you, or stu . It’s at best boring and at worst really very intru- it would be ne. But if a girl even dreamt of wearing the everything you do, every decision you make. Your identity sive. same dress twice, such a faux pas! I don’t understand why is changing, you feel like a chameleon because you want women have to go through hours and hours and hours of me to be like this and you want me to be like that. Now I SC: Well, I nd it hard to believe the amount of times you hair and makeup and potentially still get it ‘wrong’ when feel like I’ve found who I am, my identity, and I’m going see that X and Y are obviously dating because they’re hav- nobody really cares about the blokes. at’s where a lot of to go with that. ing dinner with each other. It’s incredible to me that peo- the inequality lies I think, in how people judge each other. ple actually swallow that information and, as I say, ‘judge’ LAJ: So how on earth do you cope with things like the people on it. at is unfortunately one of the costs, one of LAJ: To go back to e Hunger Games, one of the things fan backlash when you were cast in Hunger Games? I feel the downsides to what we do. I’m lucky, though, I feel like that’s great about it is it’s got a kick-ass female lead. I like if I think someone gives me a funny look on the bus I haven’t found myself damaged in any way. think that’s really important. it can ruin my day!

LAJ: Do you feel famous? Do you feel the fame – or per- SC: Role models come in every shape and form nowadays SC: I think it’s how you take that negativity and what you haps success is a better word - has changed you in any because we have so many platforms to speak from. Katniss do with it. For me, I read a few blogs, a few messages re- way? Even if it’s just a ording stu . Everdeen is a reluctant hero, she’s someone who doesn’t garding my casting that were pretty negative, very nega- know what she believes in or who she is but the moment tive; I was completely the wrong guy, people were upset SC: I have a house and I have a car and I have a little more she does there’s a re in her belly. I think that’s one of the that Zac Efron didn’t get the part! What I quickly real- money in the bank than I was used to when I was 17, but most important messages of e Hunger Games: be who ized was that every single fan had a dierent idea of who at the same time my ideals are the same and the way I live you want to be. Everyone should be entitled to their own they thought was perfect for Finnick. I didn’t look like the my life is exactly the same. I still have the same family and opinion, their own vision [of what a role model is]. Finnick in the books, but the magic of movies is that I can friends but maybe the clothes that I buy are a little nicer dye my hair, get a fake tan, go to the gym for a couple of than the clothes I used to buy back then. I personally don’t LAJ: Who were your role models growing up? months and change what I look like. ere was obviously see myself at all as famous or as interesting. I do a job that a quality I had that the director and the producers agreed I thoroughly enjoy and hopefully people will continue to SC: My career path and dreams and goals changed drasti- upon and said, “ at’s our guy”. What those negative com- watch the sort of lms that I take part in, but I’ve been cally at the age of 16. I always wanted to be a footballer ments did was spur me on to work harder and prove them quite fortunate in that I manage to keep myself to myself; through my childhood, so David Beckham or Darren wrong. All I can do at the end of the day is try my hardest. I’m very rarely accosted in the street and I still get public Eadie from Norwich City, they were my idols. en I de- I would never ever see myself as a heartthrob; I’m just a transport all the time. It’s one of those things where I feel cided I wanted to be an actor, and my knowledge of lm guy with a job. like I’ve got away with it really – but I don’t know why I was pretty lacking at the time so I wanted to be Robin Wil- wouldn’t! I’ve also lived vicariously through the Jennifer liams or Al Pacino or Robert De Niro, one of those guys. LAJ: Your life must have been gym and protein at that Lawrences of the world, the Jonny Depps and the Kristen Whereas now, honestly people who inspire me now are time. Stewarts, and seen how they don’t choose the fame side the Jennifer Lawrences of the world, people who are even of it either but that can be something that comes with the younger than me but still are able to speak truly, speak SC: Basically! I was pretty dull. One of my good qualities job. You can’t prepare for that or expect that, it’s just one of from the heart and be honest about what it is that they is that I’m very, very determined; once I start something those things that happens to some people and some peo- want to ght for, or what they believe in. ey’re not afraid I have to see it through. e Hunger Games was the rst ple it doesn’t; Daniel Day Lewis, for example, one of the of people judging them. I think that’s something we battle time when I really realized my true drive. e great thing most incredible actors of our generations, manages to live with every day unfortunately. was we were in the middle of Atlanta where none of my a peaceful and quiet life, out of the press. family or friends from home were, so I had no distractions. LAJ: What advice would you give now to your younger I literally had the gym and protein to keep me company. LAJ: I do wonder if there’s a certain double standard self when he started out acting? in terms of gender. You mentioned a couple of women who’ve su ered terrible invasions of privacy. SC: I’ve denitely grown in condence but I’ve always

UPT 157 pants, sweater & coat: JIL SANDER UPT 158 LAJ: Do you still go to football with your friends?

SC: Yeah we just went to the NFL game at Wembley. I hang out with my mates and share my experiences with them as much as possible. At the London premier of e Hunger Games this week, all my friends and family will come. It’s a little tradition we have.

LAJ: Speaking of being likeable, you played an absolute monster in e Riot Club. Congratulations on being utterly vile…

SC: Good! It’s the only time I cheer if someone calls me that.

LAJ: Do you think there’s a certain level of privilege that dominates the world you’re in? Maybe it’s in anything creative, it’s easier if you have money to fall back on.

SC: I think for me, honestly, money opens opportunities. I grew up in Norwich, went to a reasonably rough school, had a very, very thick Norfolk accent until I was 18 and started doing youth theatre. I got more heavily involved in that and noticed that actually a lot of the friends I knew in the youth theatre didn’t really have the Norfolk accent even though the youth theatre was based there, so I kind of started to get rid of it. I went to drama school and I’m an amalgamation of all my friends’ dierent accents, a bit of Norfolk, very posh when I need to, actually the truth is I am from nothing really. e preconception is that the better-educated people do succeed. I have a lot of friends from that world in the industry, and I don’t feel like it changes anyone, but I’ve had very dierent life experiences. I’ve found actually is that most characters I get asked to read for are more upper class elite, but that’s totally not where I’m from. It’s a tough question because I feel like one way or another I’m going to tread on someone’s toes, I think it’s obvious to the world that there aren’t as many opportunities [for people with less money], because education is so expensive, especially drama school. I was on a scholarship but at the same time I was working as a care-taker as my drama school to pay my way, whereas someone who comes from money doesn’t have to do that, they can focus all their attention on the education and not have to worry about when the paycheck’s coming in or what they’re going to eat for dinner. Comfort, I suppose, is the dierence.

UPT 159 LAJ: Did you have a backup plan? “ SC: Yeah, I always wanted to go into teaching. I always I just want to myself, that’s all I ever want liked the idea – which is why I got into acting – of inspir- challenge ing people. My mum was a classroom assistant at my old to do. I’d like to have the opportunity to prove to high school and she always said, “If you can change one child, one mind a year, it makes the whole job worth it”. other people – and – that I can do it at always appealed to me. Now I’m an actor, I’m fortu- myself nate enough to receive letters from fans that me and my mum sit and read through. [It’s amazing to hear that] I have inspired certain people, especially at my old school for instance, they’re like “Oh my god I can’t believe you’re in movies!” because that was me when I was younger, it was a dream so far-fetched that I never even imagined I could be doing movies.

LAJ: Do you feel that you’re at a stage now where you’ll always get work or do you ever think “Oh shit I might not ever get that again”?

SC: I only called my agents the other day because I just literally nished another job a couple of weeks ago and I have a few things potentially in the pipeline for next year but nothing’s 100% set in stone. It’s something to constantly worry about! [Laughs] Where I’m at in my career at the moment I feel like I’m between a rock and a hard place. I feel like I’m trying to move forward and play even more interesting roles, but all those parts go to people who are already trustworthy – the Eddie Redmaynes, the Andrew Garelds, the Robert Pattinsons – people who can sell lms. Whereas I’m still, in a sense, untested. It’s dicult denitely because the parts that do inspire me will then go to someone better than me.

LAJ: I’m not sure if it’s ‘better’ so much as redening how people see you. I mean, look at Sienna Miller, she’s totally repackaged herself. Half of the battle is getting other people to see you in a di erent way.

SC: at’s exactly right. I think that’s what I’ve been trying to do, like with the Riot Club, showing I can be nasty; with Love, Rosie, I can be goofy. I’ve just done a lm called Me Before You where I play a quadriplegic, it’s got a much more serious tone, but at the same time it’s a light drama that deals with some very important issues. I feel myself opening up and growing as an actor and a person.

coat: BURBERRY UPT 160 LAJ: So fulllment for you is about variety?

SC: I just want to challenge myself, that’s all I ever want to do. I’d like to have the opportunity to prove to other people – and myself – that I can do it, to play dierent characters. I don’t want to rock the same haircut and look exactly the same and play the same character in dierent movies. e career of someone like Christian Bale, who physically transforms for each role, you feel like you don’t know who Christian Bale is because every role that he does is so, so dierent, you don’t feel like he brings any of himself to those parts. It’s just this completely formed character he comes up with. at’s what I’m trying to achieve.

LAJ: I’m sure you will. So now you’re on tour with e Hunger Games premiers. How long will that go on for?

SC: About three weeks. e premier in Berlin, then Lon- don, then Los Angeles, then New York, then I’m briey in Miami and then I’m back for Christmas.

LAJ: I’ll look out for you wearing your same blue suit! At least you can pack light.

SC: [Laughs]. Yeah, exactly!

e End

silver chain: CALVIN KLEIN tank: ROBERT GELLER

grooming: CASH LAWLESS @ Jed Root producer: MATT BROWN styling assistants: PAGE SCHULTZ & CAITLIN COWGER special thanks: AMY BARTLETT & LAURA COLMAN @ PREMIER SANS TITRE featuring: Isabelle Nicola photography Christophe Kutner styling Romina Herrera Malatesta

THE WILD ONE featuring: Heather Marks photography Dennis Golonka styling Romina Herrera Malatesta

PIECES OF THE OTHER featuring: Marcel Castenmiller & Jacob Morton art direction by Manuel Schibli photography Ben Lamberty styling Romina Herrera Malatesta

A NOVEL DAY featuring: Carson Meyer photography Malerie Marder styling Romina Herrera Malatesta

DREAMER featuring: Maisie Kennett text by Julia Szabo photography Tim Richmond styling Romina Herrera Malatesta

TALI’S PETALS featuring: Tali Lenox photography Dennis Golonka styling Romina Hererra Malatesta

BEAUTIFUL CREATURES featuring: Joanna Stachniak, Mario Adrion, Cleo Cwiek, Martyna Budna, Sanna Backstrom, August Gonet & Elizabeth Salt photography Alex Stralino styling Romina Herrera Malatesta

NATURE OF THE BOY featuring: Emiel photography Yann Faucher styling Adam Winder

THE LAST PROJECT remembering: David Armstong & Mary Ellen Mark text by Dennis Golonka

Un Titled Project the Fashion project fashion project SANS TITRE

top: MARCHESA briefs: REFORMATION shoes: ADEAM

UPT 164 Sans titre

featuring Isabelle Nicola photography Christophe Kutner styling Romina Herrera Malatesta

photographed in Brooklyn New York

dress: ERDEM shirt: ALTUZARRA pants: ALTUZARRA shoes: ADEAM top: COSTUME NATIONAL briefs: REFORMATION shoes: ADEAM

UPT 167 ADEAM shoes: shoes: ERDEM dress: dress:

UPT 168 shirt & pants: ALTUZARRA

ALBRIGHT FASHION LIBRARY FASHION ALBRIGHT

HOUGHTON courtesy of HOUGHTON shorts: shorts: THE ROW THE : coat

coat: THE ROW shorts: HOUGHTON courtesy of ALBRIGHT FASHION LIBRARY shoes: ROCHAS

UPT 170 coat: THE ROW shorts: HOUGHTON courtesy of ALBRIGHT FASHION LIBRARY shoes: ROCHAS dress: NINA RICCI courtesy of ALBRIGHT FASHION LIBRARY briefs: REFORMATION dress: NINA RICCI courtesy of ALBRIGHT FASHION LIBRARY briefs: REFORMATION coat, pants & shoes: ROCHAS top: NINA RICCI courtesy of ALBRIGHT FASHION LIBRARY

UPT 173 dress: ZERO MARIA CORNEJO shoes: ADEAM

UPT 174 jumpsuit: SONIA RYKIEL top: NINA RICCI courtesy of ALBRIGHT FASHION LIBRARY

UPT 176 top: NINA RICCI courtesy of ALBRIGHT FASHION LIBRARY coat: ADEAM model: ISABELLE NICOLAY SUPREME hair: JOHN RUIDANT using KEVIN MURPHY SEE MANAGEMENT makeup: REGINA HARRIS stylist assistants: PAIGE SCHULTZ & ANNA DEVEREUX producer: YAEL KNOPF casting director: AMY LOWLES THE NEW CAST special thanks: RUBY BIRD STUDIO & ALBRIGHT FASHION LIBRARY

UPT 178 model: ISABELLE NICOLAY SUPREME hair: JOHN RUIDANT using KEVIN MURPHY SEE MANAGEMENT makeup: REGINA HARRIS stylist assistants: PAIGE SCHULTZ & ANNA DEVEREUX producer: YAEL KNOPF casting director: AMY LOWLES THE NEW CAST special thanks: RUBY BIRD STUDIO & ALBRIGHT FASHION LIBRARY

shoes: GIAMBATTISTA VALLI courtesy of ALBRIGTH FASHION LIBRARY fashion project

The Wild One

photographed in the Catskills, New York THE WILD ONE

dress: CREATURES OF THE WIND

featuring Heather Marks photography Dennis Golonka styling Romina Herrera Malatesta dress: VERA WANG boots: HUNTER dress: BLUMARINE boots: HUNTER

UPT 183 dress: SONIA BY SONIA RYKIEL

UPT 184 dress: SONIA BY SONIA RYKIEL skirt: ALBERTA FERRETTI briefs: LES COPAINS skirt: ALBERTA FERRETTI briefs: LES COPAINS

UPT 187 sequin sweater and dress: CHRISTIAN DIOR

UPT 188 top & skirt: ALTUZARRA boots: HUNTER

dress: ROCHAS

UPT 190

UPT 192 dress:VALENTINO top: ELLERY boots: HUNTER

UPT 194 dress: SAINT LAURENT courtesy of Albright Fashion Library model: HEATHER MARKS @ Woman Managemet hair: CASH LAWLESS @ Jed Root makeup: CHARLOTTE DAY @ See Management using MAC Cosmetics prop stylist: TERI COTRUZZOLA photography asst: SHANE LAVANCHER stylist assistants: PAGE SCHULTZ & ANNA DEVEREUX special thanks: LESLEY & JOEL HARRISON PHOTOGRPHED IN THE CATSKILLS, NY. to view video footage from the day go to www.utpmag.com

UPT 196 dress: MARC JACOBS fashion project GOD IS REAL TO ME TO GOD IS REAL

Pieces of the Other

featuring Marcel Castenmiller & Jacob Morton

photography styling art direction Ben Lamberty Romina Herrera Malatesta Manuel Schibli shirts: CUSTOM MADE BY STYLIST neclace & bracelets: SCOSHA UPT 198 PIECES of the OTHER

shirts: CUSTOM MADE BY STYLIST neclace & bracelets: SCOSHA UPT 199 CALVIN KLEIN : CALVIN SCOSHA tights custom made into shirt SCOSHA necklace: ROBERT GELLER GELLER ROBERT tank & pants:

UPT 200 top & pants: SIMONMILLER bracelet & neclace: SCOSHA

UPT 201 CALVIN KLEIN : CALVIN SCOSHA tights custom made into shirt SCOSHA rings: STRANGE MATTER MATTER STRANGE sneakers: ROBERT GELLER ROBERT shirt,pants & coat:

UPT 202 sweater: JILL SANDER

UPT 203 coat: JILL SANDER rings & necklace: SCOSHA UPT 204 ring, bracelet & necklace: SCOSHA

shirts: CUSTOM MADE BY STYLIST

UPT 205

JILL SANDER JILL sweater:

this page sweatshirt: ACNE STUDIOS UPT 206 right coat: FENDI knitted t-shirt: PRADA underwear: DEREK ROSE sweater: DOLCE & GABBANA jacket & pants: SIMONMILLER shoes: JILSANDER neclace: SCOSHA

UPT 207 shrit & coat: ROBERT GELLER tights custom made into shirt: CALVIN KLEIN

UPT 208 coat: MARGIELA rings & necklace: SCOSHA shrits: CUSTOM MADE BY STYLIST

UPT 209 STRANGE MATTER MATTER sneakers: STRANGE bracelets: SCOSHA CUSTOM MADE BY STYLIST BY MADE CUSTOM skirt MAX MARA MARA MAX leggings:

DSQUARED2 sweater:

coat: Y’S BY YOHJI YAMAMOTO

UPT 210 casting: AMY LOWLES hair: JEROME CULTRERA @ See Management using Oribe Haircare makeup: BRYAN ZARAGOZA See Management tailor: CAITLIN COWGER stylist assistants: PAGE SCHULTZ photography assistant: STEPHANIE WALD PHOTOGRPHED IN NY AT EASY STUDIO

shirts: GUCCI pants: ROBERT GELLER rings & neclace: SCOSHA sneakers: STRANGE MATTER

UPT 211 fashion project

A Novel Day

featuring Carson Meyer

photography Malerie Marder styling Romina Herrera Malatesta

Carson Meyer, daugher of Ron Meyer, Vice Chariman of NBC Universal and Kelly Meyer, television producer and envi- ronmantal activist, is no stranger to Hollywood. She is a natural beauty with a talent for acting. She starred as the lead role of Penny Cooper in Alex Israels anticipated film SPF 18. It is described as an innovative work that challenges traditional defini- tions surrounding art, entertainment, and teen culture. She also A NOVEL DAY NOVEL A starred as Willadeene Parton, Dolly Parton’s oldest sister in the film A Coat of Many Colors. She took time from this and her studies at NYU to spend the day on the beach with artist Malerie Marder to create A Novel Day.

chain necklace: SAINT LAURENT heart pendant necklace & earrings: CARSON’S OWN

UPT 212 UPT 213 dress & tights: SAINT LAURENT

UPT 215 coat, bag, brooch & tights: SAINT LAURENT dress: SAINT LAURENT UPT 217 tights: SAINT LAURENT panties & necklace: CARSON’S OWN

stylist assistant: ANNA DEVEREUX special thanks: KELLY & RON MEYER ANA CHRISTINA GUIMARAES & PAIGE GREWENIG at SAINT LAURENT

UPT 218

DREAMER

UPT 220 fashion project Dreamer featuring Maisie Kennett DREAMER

styling photography text Romina Herrera Malatesta Tim Richmond Julia Szabo

t-shirt shirt & jeans: LEVIS jacket, rings, shoes & black undershirt: MAISIE’S OWN UPT 221 UPT 222 jacket & jeans: LEVI’S hat, shirt & ring: MAISIE’S OWN

UPT 223 UPT 224 shirt: LEVI’S hat & handbag: MAISIE’S OWN

UPT 225 UPT 226 jacket, shirt & jeans: LEVI’S hat, ring & shoes: MAISIE’S OWN

stylist assistant: PAGE SCHULTZ special thanks: JESSICA GAMBLIN, ZARA TISMA, SUWEYDA ABDULLE & LUCY KNAPP at LEVI’S

UPT 227 TIM RICHMOND: LAST BEST HIDING PLACE

text by Julia Szabo

Places, like people can seem alone, lled with melancholy. So reads the epigraph to Tim Richmond’s mes- merizing new collection of photographs, Last Best Hiding Place (Kehrer). In it, the author achieves an astonishing personication of some of the American West’s most solitary and desolate places: ghost towns where the ghosts haunt in broad daylight. ese are human ghosts; no picturesque bualo roam in Richmond’s landscapes (in fact, no animals are pictured at all). Here, we see the ghost of rugged cowboys’ past, now a weathered old man still standing tall; there, the modern analogue of Gunsmoke’s pretty Miss Kitty, updated with a tattoo sleeve and a Budweiser sign. e un-peopled landscapes of this book, no less than its human subjects, are bound to take root in your memory long aer you’re done leang its pages and closing the cover. Read our interview with the artist to rediscover the lure of the American West, and how it made a drier out of him - and order your copy of the limited Special Edition of 100 on the Bookshop page of www.TimRichmond.co.uk.

JS: You are from England; the iconography of these there one lm in particular that had an impact on images is uniquely American. Or is it? What is uni- you as an artist? versal about the American West? TR: Five Easy Pieces (1970) directed by Bob Rafelson, TR: e iconography is very American with Jack Nicholson and Karen Black indeed. Signage is such a key component bouncing o each other in spectacular of the American landscape, passed down “ form. I loved the iconography of the oil through the ages by photographers from rigs, motels, bowling alleys, and land- Walker Evans, William Eggleston, Joel “I feel that a scapes, as well as the open ended nal Sternfeld. I was adding to that list in the scene. I wanted to explore that long dis- The Interview - RICHMOND The Interview contemporary setting, where soap ad- photographer tant exotic world. verts have been replaced by Meth warn- ing billboards, and religious slogans. should show JS: Had you explored American West- ern imagery previously, in your fashion JS: What rst intrigued you about the the everyday photography? And did that play a part American West, and when? and in conceiving this book project? TR: I was rst grabbed by the notion of TR: I had photographed in the USA prior the American West whilst a teenager in overlooked, to this project, but mostly I had been on England watching lms such as Hud, the East or West coasts. What truly fas- Junior Bonner, and Bad Day at Black and nd a cinated me more, however, was that vast Rock, as well as a diet of Westerns from expanse of the yover states: the hin- Shane to High Noon. ese lms con- certain terland. I was drawn to the small towns veyed a landscape with no end, com- that have survived in the face of reduced bined with a sense of isolation, invention beauty t h e re .” populations from their 1950’s high point. or re-invention and self-reliance. ere e buildings and streets, walking round right also was an implication of “freedom”, to the corner and nding a scene that blew Clockwise from top: LAST BEST HIDING PLACE book cover; exist, to roam, to be with nature. me away, all appeared incredibly lmic to me. Add to FAMILY DOLLAR; Broadway St; Sheridan, Wyo- that the people I photographed, and there was a mixing ming; METH, Jordan, Montana; BROADWAY ST, JS: Your work is oen described as cinematic. Was bowl of stories revealed, true or imagined. Sheridan, Wyoming; SHATAQUIN, Utah

UPT 228

Clockwise from Top Left: SHOSHONE RIVER, Cody, Wyoming; 16TH ST, COdy, Wyoming; BAR, Byron, Wyoming; JUDITH GAP, Montana JS: When did you decide to undertake this book project? I have long had an interest in the hidden, and equally I have chosen to settle there. e scale of the landscape use devices such as reections and windows to slightly is phenomenal. Taking a dirt back road, you could eas- TR: I was commissioned to shoot a large piece on the obscure the view/person, and muddle/blend it/them with ily be driving two hours without seeing another human rodeo in 2007, and whilst staying on out there, realized the reected scenery. I also have people looking away soul, just some cattle or horses as company, along with a that, however attractive the rodeo seemed, it was a ‘show’ from the camera, not at the lens, so there is, I believe, an soundtrack of continuous country music on the car radio. around the myth of the cowboy, and for the rodeo week- implied objectivity, and one can apply meaning/stories to end the crowd swapped their generic baseball caps for a that person more readily than to a direct gaze at the lens. ( e End ) cowboy hat. What set me o on the path of this book, was the life in the towns and surrounding landscapes aer “the JS: Many of these photographs are quite haunting. Is circus has le town.” there one gure or landscape in particular that got under your skin, that you can’t stop thinking about since JS: How did you travel; Was the project done in one trip you completed the project? or several trips; and how long did it take to complete from concept to publication? TR: ere is a certain melancholy that pervades the series, whether it be a person or a landscape, that greatly appeals TR: I spent seven summers out West, between 2007 and to me. I see the people and places as quiet, and in their 2014. I was based in Wyoming, and would take several own space. I wonder whether, in this era of the “all smiling long trips each summer by car/campervan, sometimes sele,” we are becoming trained to expect photographs of with my wife, but mostly alone. Aer the trip in 2014, I people to be an attention-grabbing performance. knew that I had completed the material for the book, and started to work with the designer and publisher over the JS: Did you pause to hear your subjects’ stories while next nine months to create Last Best Hiding Place. you photographed them? Or did you prefer to maintain a certain distance from them (to hide from them, as it Below: MAIN ST, Harlowton, Montana; JS: How did you determine where you’d go to nd sub- were)? MAIN ST, Shoshoni, Wyoming jects to photograph? TR: ere was no set pattern, but generally I got some sto- TR: I pored over detailed road maps, took back roads, fol- ries from the subjects—some in-depth, others more eet- lowed the railway lines (as that would have been the town’s ing—but doing the road trips I became used to the rhythm lifeline once), and mostly avoided the interstates. I looked of the day, making hundreds of tiny decisions about what at the remote areas and the distance between each little worked and what did not. town. e powerful lure of a name drew me in many times, and made me intensely curious: Harlem, Montana…Pray, JS: What do you hope that readers/viewers will take Montana… Eureka, Utah… Scenic, South Dakota. away from these images?

JS: How long did you stay in one place? TR: I feel that a photographer should show the everyday and overlooked, and nd a certain beauty there. I would TR: at depended on the place. Mostly I would dri like that viewers bring their own backstories to the imag- through places once I felt that I had exhausted the photo- es. I would hope that they share my love for the everyday, graphic possibilities. Sometimes that was aer a few days. I beautiful, barren, harsh environment of the American especially liked the town of Butte, Montana, and was there West that is steeped in cinematic imagery, and that they three days; in others, an hour or two. see a side to the West that is so much more complex and intriguing than the stereotypes, such as a silhouette of a JS: e title of your book is “Last Best Hiding Place.” lonesome cowboy and horse on a hilltop. Please explain the concept of hidden-ness as it relates to this project and your work in general? JS: is issue is about nature. What insights into nature did you discover working on your book project? TR: “Last Best Hiding Place” is a Montanan phrase for living under the radar. I liked the expression, suggesting TR: e American West without doubt teaches one to re- people and places could exist away from the gaze of CCTV spect nature, and to respect nature’s power. Bitterly cold cameras, where there was a sense of stepping away from winters, and then very hot summers triggering torren- corporate structures. tial storms, make one only admire even more those who

UPT 231 dress:CG bracelet: CARTIER TALI’S PETALS

styling

Romina Herrera Malatesta Malatesta Herrera Romina

photography fashion project fashion Dennis Golonka Tali’s Petals Tali’s

featuring Lennox Tali dress: NINA RICCI bracelet: MARA CARRIZO SCALISE dress: CG boots: MARC JACOBS

UPT 234 dress: CG boots: MARC JACOBS CLOAK WARDROBE CLOAK

MARGIELA courtesy of MARGIELA dress: dress:

UPT 236 CARTIER CLOAK WARDROBE bracelet: WARDROBE CLOAK GIVENCHY courtesyGIVENCHY of dress: dress:

UPT 237 top: COSTUME NATIONAL UPT 239 hair: LAURA DE LEON @ JOE MANAGEMENT using ORIBE HAIRCARE makeup: DEANNA MELLUSO using GIORGIO ARMANI COSMETICS prop desiger of still lifes: TERI COTRUZZOLA stylist assistants: PAGE SCHULTZ photography assistants: SHANE LAVANCHER & MATT BROWN special thanks: JAY & MARYANNE @ DUNE STUDIOS shot in New York at DUNE STUDIOS

UPT 240 dress & boots: MARC JACOBS beatuy FEATURE project Beautiful photography Alex Straulino BEAUTIFUL CREATURES BEAUTIFUL

shrit: APIECE APART t-shirt: RAG & BONE

UPT 242 Creatures photography Alex Straulino styling hair Romina Herrera Malatesta Gavin Harwin

t-shirt: RAG & BONE

UPT 243 bed sheet: CALVIN KLEIN shirt: LACOSTE

UPT 244 shirt: LACOSTE

UPT 245 bedsheet: DONNA KAREN fragrance: TOM FORD NEROLI PORTOFINO

UPT 246 left dress: THEORY

right blouse: VIKTOR & ROLF bedsheet: DONNA KAREN fragrance: TOM FORD NEROLI PORTOFINO

UPT 247 shirt: EVERLANE

UPT 248 hair: GAVIN HARWIN using JOHN MASTERS orgnics models in order of appearance: JOANNA STACHNIAK, MARIO ADRION, CLEO CWIEK, MARTYNA BUDNA, SANNA BACKSTROM, AUGUST GONET & ELIZABETH SALT ALL ONE MAGAGEMENT styling assistnat: PAGE SCHULTZ & GIORGIA FUZIO photography asst: MARTIN RUSTAD JOHANSEN studio manager: HAZEL KIESEWETTER special thanks: SCOTT LIPPS, SINDY GOURLANT BATEL & ALLEN OSBORNE @ ONE MANAGEMNT shot in New York CANDY STUDIOS

top: MM6 skirt: DKNY

UPT 249 fashion project

sweater:DRIES VAN NOTEN shorts:ABSOLUTE VINTAGE shoes: EMIEL’S OWN fashion project

Nature

photography Yann Faucher styling Adam Winder featuring Emiel NATURE of the BOY of the Boy

briefs:LA PERLA trousers: PIETER shoes: ABSOLUTE VINTAGE glasses: EMIEL’S OWN UPT 251

ABSOLUTE VINTAGE VINTAGE ABSOLUTE PIETER shorts: PIETER shirt & turtle neck:

UPT 252 coat:YOHJI YAMAMOTO t-shirt: BEYOND RETRO trousers ROKIT shoes: ABSOLUTE VINTAGE LA briefs: PERLA ABSOLUTE VINTAGE VINTAGE ABSOLUTE boots: JAKE BURT JAKE shirts:

UPT 254 coat: ALEX MULLINS shorts: LA PERLA shorts: ABSOLUTE VINTAGE shirt & turtle neck: PIETER trousers: YOHJIYAMAMOTO jeans: BEYONDRETRO glasses: EMIEL’S OWN

UPT 257 jacket, trousers, shirt & belt: CHARLES JEFFREY scarf: BEYOND RETRO boots: ABSOLUTE VINTAGE

model: EMIEL

UPT 258 model: EMIEL

the LAST Project

remembering DAVID ARMSTRONG & MARY ELLEN MARK

text by Dennis Golonka LAST PROJECT PROJECT LAST

wo of the great voices in photographyT passed away in 2015, David Armstrong and Mary Ellen Mark. Armstrong gained recognition for his photographic exploration of gay men, drug addicts, transvestites, artists and models. Mark was best known for her in-depth documentary clockwise from top works and iconic portraiture. Both DAVID ARMSTRONG were contributors to UTP and were VALLEY OF THE DOLLS featured in the very rst issue of the image from UTP Nº 3 magazine. They jumped on board without hesitation or question. MARY ELLEN MARK OAXACA, MEXICO 2011 They will be greatly missed! image from UTP Nº 1

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Titled 2016 Titled Project $24.00 US Un Project Project Issue Nº Daniel 8 Titled Titled Nº8 U

journal of art & fashion journal of art T P Un 2016