AM: "Pensacola, been there?"

RB: “Never. This table is very Haitian.”

AM: “They’re not rich, really. It’s the Italians that run this place. Serafina, TRITE. ”

RB: “(FORK TWIST) I wondered why we were eating all this Tiramisu for free.”

AM: “I’m Amanda. Why are you here? ”

RB: “Once a week, a meal on the house. All I have to do is wear these heels (RYANN) ”

AM: “Like the boy’s name? (I NEVER WEAR ‘EM. YOU’LL LEARN.) ”

RB: “Let’s hurry and finish before the Italians start dancing, please. ”

Hey Miss Fanny

Introducing Hot Mom Cop

Accessories by Alex Schmidt/ Photos by Logan Caldbeck/ Art Direction by R Bosetti/ Debuting 09.10

AS: “I found this bird skeleton in a field behind the library, but it wasn’t really ready yet, you know? I have so many snake vertebrae, too many really, I need some more bird femurs if I’m going to have this trunk show ready by September.”

RB: “Femurs, like for those double-sided-ladder Neck Pieces, with the gold chain, yeah? I want to help you find these femurs.”

AS: “Ted and I walked for a few hours along the road to Alpine, I guess he had done it a few days earlier, walked the whole 28 miles and he came across this incredible pile of skeletons, so he wanted to bring me back to it. We found it, it was just this extraordinary graveyard in the desert, I don’t know why they all died there. So many pig skulls.”

CH: “Do you guys want me to wear this red bra under the swimsuit?”

RB: “I think it’s wise, let me show you how to lay down, with your head on the concrete, Like This: : See? So you’re letting these bones hang over the edge, and your Zebra Print Finger Nails are resting against your belly, and your eyes are looking right up at that Rust Spot, this is what we came for, I am pretty sure.”

AS: “ALIGNMENT.”

SHE’S LOST CONTROL

(NOTE: THIS IS A PRE-RELEASE STILL FROM THE UPCOMING CAMPAIGN, OFFICIAL PHOTOGRAPHY RELEASED IN CONJUNCTION WITH SEPTEMBER 2010 LAUNCH)

I’ve created this film as the first part in a series of documentation addressing the acknowledgment of the Nape in Haircut*

The Nape is the area of the skull that is outlined vertically as a curve from Hairline to Occipital and horizontally from mid Ear Crescent to mid Ear Crescent. The Nape is characterized exclusively by soft curvatures following these vertical and horizontal paths, forming a gentle grid across the region. The primary objective of cutting the hair of the Nape is to produce an accurate overlying representation of these underlying curvatures. The Hairdresser will find it most useful to see the Nape as a series of vertical wedges, the apex of each wedge meeting at the center of the Occipital. Each section’s length will be removed based on the corresponding curvature of the Head shape to which it is connected. The resulting Silhouette, regardless of Baseline length of this region, will reveal a soft Round of the Form, representative of the Round of the inherent Head shape.

Due to the exaggerated presence of unique curvature in this region of the Head shape, the Nape offers an exquisite opportunity for the Hairdresser to highlight the unmatched structural traits of the Subject. If the curvatures of the Nape are acknowledged and treated with the appropriate sculptural attention, this region alone can be responsible for a singular grace and unquestionable success for the end Form.

-R Bosetti

*Reading by Frank O’Hara of his poem Having a Coke with You

The first of a handful of mini-films I’ve made, documenting a recent adventure into the Hallowed Grounds of Death Valley. Accompanied by two Ethereal Femmes, I trip-traipsed my way through this desert’s endless salty dunes and crystalline clouds, waking each morning to White Light and mineral powder coating my skin. Minds were blown, petticoats torn, whole histories rewritten! Please watch this film, it was made with the dirt-and-incense resolve of four Wild Mustangs and an Opera-House Poltergeist.*

*FULL SCREEN GENTLE PEOPLE

Photography: Sarah Meadows
Muse: Jacob Galash
Hair: R Bosetti
[Subject Six of Neotenics]

Yet another deeply blessed collaboration with Jona Bechtolt and Claire Evans of YACHT, two humans who’ve permanently lassoed my tender chest-muscle with their Soulful Intentions and Mind-melding Touch. Yacht has added a band to their melodic family and has dubbed the resulting creative effort as YACHT & The Straight Gaze. They’re currently flickering across Canada, en Tour, as only two breathless visionaries can, now with a band of exquisitely talented compatriots en tow.

This image is related, currently, to the new YACHT iTunes session of music. I styled it and the eternal Sarah Meadows photographed it. A primary reference was the gender-bending work of Cindy Sherman, and the overarching concept of boy and girl occupying the same place, erasing the hard-lined aesthetics of GENDER. Androgyny in all it’s foggy glory. Straight Gaze/Straight Gays/Who is Who/What is What. A late night spend in a dusty brick-encased room, shirts being swapped, air heavy with Love, we rolled out late-night with Purple-hued Hearts steeped en Gratitude.

Ok, please check out the links below to learn more about YACHT and the Straight Gaze, and also please review their tour schedule (found within said links). Please do whatever necessary to place yourselves in the path of these two Blessed Souls. You’ll walk away irreversibly altered in the most Cosmically Attuned fashion.

YACHT & The Straight Gaze PT. 1

YACHT & The Straight Gaze PT. 2

(Below please find a window-into-a-window of the night, Ms. Evans and me, halfway in. Photo: Claire L. Evans)

TECOPAH, DEATH VALLEY 2010

[TRANSCRIPTION]

RB: [comb/comb/spray/spray/comb]

CE: [breathe/breathe]

RB: [LAUGHS]

RB: “THIS IS INSANE.”

KS: “It looks so good.”

RB: “UHM, it’s *-ed up, oh.”

RB: “What’s *-ed up is that this is [like ] such, seriously, and not to overuse this term [obv.] but the most punk rock *-ing haircutting. I just know, uh, this is not a haircut video [laughing]. If anything, someone could use this to [like] disclaim my identity as a good hairdresser.

CE: [LAUGHING]

KS: “It looks so good.”

RB: “[AH] It’s so *-ing beautiful. I’m having a really insane moment with your hair right now. I’m really in that place, We’re [like], in that first time at {—-’s} building. [STOPS BREATHING]”

KS: “It looks so beautiful.”

Rockin That Thang

Photography: Sarah Meadows

Muse: Emily Galash

Hair: R Bosetti

[Subject Five of Neotenics]

STECKLY: A precocious talent. PHOTO: Sarah Meadows | ART DIRECTION/HAIR: Ryann Bosetti

Visual Artist

With his flaxen hair and lanky frame, Alex Steckly looks like an extra from a Gus Van Sant film.

But this precocious 23-year-old is a rising star instead on the local art scene. His first solo show, held in October at Fourteen30 Contemporary, was remarkable for its style and immaculate technique. With enamels, masking tapes, and perforated screens normally used in car detailing and sign painting, Steckly created intricately patterned compositions and sculptures that featured painstakingly sanded biomorphic forms receding as if in a shadowbox. The works straddled the line between drama and nuance with a finesse rare for any artist, especially one so young.

A Portland native born into a family of artists and designers, Steckly started painting at 5 and decided at 13 that he wanted to become a professional artist. After graduating from Cleveland High School, he enrolled at Pacific Northwest College of Art. But he dropped out after one year, saying now that, “I wasn’t interested in the academic side of art. I just wanted to be making it.”

He got a big break in 2008, when curator Nathan Howdeshell included two of his paintings in the group show Rad Moon Rising for Deitch Projects, a New York gallery. Part of Deitch’s presence at the Art Basel Miami Beach art fair, the show gave Steckly valuable national exposure.

Gallery representation proved elusive, however, until this June, when local gallerista Jeanine Jablonski saw Steckly’s sculptures at Stumptown and offered him a show at Fourteen30. Jablonski says Steckly has long been on her radar, but that the sculptures she saw last summer “catapulted” him forward.

“We’re already planning the next move for him,” she says, “and looking at getting him into larger markets.”

In three months he created the pieces for the show, wisely tempering his surface effects with a restrained color palette.

In 2010 he wants to incorporate fluorescent lights into his works. With an abundance of ideas and the backing of an ambitious gallery, this wunderkind is poised to break out.

—RICHARD SPEER

ADIDAS SS10 LOOKBOOK

A recent hairdressing effort of mine; collaboration with a handful of righteous British Gents, a league of Saxon Femme Fatales direct from Germany, and a few insanely talented female athletes. Yoga hair is not much to look at, yes? It was, however, a job that wrought sweat and blood, repeatedly. Shot in Santa Monica, Compton, and Malibu. PROPER.

Creative Direction ⁄
Alasdhair Willis, Announcement Ltd
Photography & Creative Production ⁄
Ben Ingham
Art Direction & Design ⁄
MadeThought
Styling ⁄ Neil Rodgers
Hair Stylist ⁄ Ryann Bosetti
Make-up ⁄ Jennifer Flamingo
With thanks to Ana Ivanovic and Jessica

[Also thanks due to Raphael Salley for his support and referral X]