March 17, 2015 by Ryan Willms 
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—01. Embrace.
This spring Our Legacy have become the latest brand to add a range of eyewear to their offering. Handmade in Portugal, the glasses feature an anti-scratch coating, Carl Zeiss UV400 lenses and Italian Mazzucchelli acetate frames.
Our Legacy March 16, 2015 by Nico Jacobsen 
The Wattis Institute
360 Kansas St.
San Francisco, CA
March 13 – April 18, 2015
Even though Martin Wong will be returning to his birthplace by the bay for his posthumous show Painting Is Forbidden, to me he will forever be a New York artist. Both stylistically and conceptually, you would be hard-pressed to find an artist whose work embodies the turmoil of '70s and '80s New York more than Wong's. With an approach that sits somewhere between Philip Guston, Rick Griffin, and Jacob Lawrence, everybody is sure to find something they admire in the decade-spanning body of work presented at this show.
March 16, 2015 by Ryan Willms 
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—01. Made in USA.
Made with ripstop nylon, the Frame Bag is designed by Konstantin Grcic for Maharam. The deep indigo colour gives the bag a dark, minimal look allowing the details of the lattice frame structure to be the focal point. The large, self-lined holdall style also features a useful interior pocket and a durable vinyl base.
March 15, 2015 by Nico Jacobsen 
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—01. Pre-order exclusively through Mount Analog.
—02. Special edition package, limited to 300 copies.
Jealous God is run by Silent Servant, Regis, and James Ruskin, arguably the three most celebrated, multi-faceted producers in the history of techno, and the output very much reflects that in both quality and diversity. The latest installation is a split 12-inch that has New York-based noise artist Lili Schulder, aka 51717, joining Silent Servant on what might be the label's most disconcerting release yet.
51717, James Ruskin, Lili Schulder, Regis, Silent Servant March 15, 2015 by Matthew Klassen 
01
—01. Directed by Jonathan Demme, 1984.
Stop Making Sense is arguably one of the the best and most universally acclaimed concert films ever released; the only other options I would personally single out for top honours are Don’t Look Back and The Last Waltz when taking into account the scope and innovation that all these films exhibit. This fresh take on the somewhat worked over concert documentary owes a huge debt to the filmmaking mastery of director Jonathan Demme, but Talking Heads are equally responsible for steering this document, comprised of three separate nights of concerts, to entirely unique and interesting places. The film starts with David Byrne bringing out a boom box, announcing "I've got a tape I wanna play," and then launching into 'Psycho Killer.' Subsequently adding a band member and more set pieces to the stage over the next few songs, it's an entirely individual introduction to one of New Wave’s most distinct acts. Complete with cinematic nods to Dr. Strangelove, Breathless and Japanese Noh theatre, Stop Making Sense even includes some delightful continuity errors that were unavoidable due to performances being edited down from the multi-night takes. Keep your eyes out for Tina Weymouth’s transforming bass guitar and a beach ball that never touches down.
March 14, 2015 by Matthew Klassen 
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—01. Video still from Untitled (Now), 2014.
Considering Marfa's size, there's always an inordinate amount of interesting contemporary creative expression happening in the tiny, out-of-the-way artist’s community made famous by Donald Judd. Ballroom Marfa, founded in 2003 as a non-profit organization and arts space, is currently involved in two such events. The first is an exhibition of new works from the multidisciplinary artist Sam Falls that feature sound, video, sculptural and wall works which address his consistent investigation of time and transformation. Falls states, in relation to the works he’s created, "I was taken by Donald Judd’s outdoor work Untitled (15 Works in Concrete) at the Chinati Foundation, impressed by how fixed and changeless the works appear compared to the landscape and passing time. As a result I have created several works based off of my love for minimal form but replaced its defiance of nature with an integration of the environment and change. It should prove to be an exciting visual experience to see these pieces in a dynamic relationship to Judd’s works.” Alongside the opening of this exhibition, the venue is also co-presenting the Marfa Myths Festival with New York-based label Mexican Summer from March 13th to 15th. In its second year, with the likes of Grouper, Dev Hynes, Steve Gunn and Jefre Cantu-Ledesma on the bill, the festival’s roster is impressive enough to warrant a spur-of-the-moment trip to this high desert art oasis.
March 14, 2015 by Ryan Willms 
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—01. Cover.
—02. Interior spread.
Highlighting a broad range of pieces from 1950 to 1980, including the work of Roberto Menghi and Mario Bellini, among others, Design Furniture from Italy is a re-edition of the catalog featured in an exhibition held between November 29th, 1980 and January 25th, 1981 at the Köln Stadt Museum in Germany.
March 13, 2015 by Philip Watts 
Callicoon Fine Arts
49 Delancey Street
New York, NY 10002
March 1 – March 29, 2015
Another artist from the Callicoon Fine Arts roster will appear in the pages of our forthcoming twelfth issue, but the Lower East Side gallery's current show by artist Kamau Amu Patton is also worth bringing to your attention. Personally, I'm looking forward to returning to New York next week, after the intense magazine production schedule, and unwinding my mind by standing in front of glitches, canvases, wires, static, feedback and wall-mounted hardware. I've very recently embraced wiring as an art form. In a world of wifi and wireless, it's amazing how many things still require plugging in. And the desire by many to hide away the tangle of bright cords and power supplies surely says something about our ever-growing collective OCD. At home I've found myself staring at the wires coming from the stereo, snaking behind the television and admiring their unintentional sculptural form. Pretentious, I know. But with this in mind, Patton's first solo show with Callicoon offers another representation of technology as art.
