LIVE CHEAP– NEVER DIE | THE PHOTOS BEHIND RICHARD ST. CLAIR’S BIKER ART– JOIN TSY IN NEW HOPE, PA SATURDAY JUNE 17TH 6-9PM

“Beach Run” photograph by Richard St. Clair– Meet the artist Richard St. Clair and see his collection of oil paintings in person at the New Hope, PA TSY shop Saturday June 17th 6-9PM. You’ll see 12 of his original oil paintings alongside his original photography.

Beach Run

“Beach Run” original 34″ x 34″ oil painting by the artist Richard St. Clair

When I first met Richard St. Clair at his home outside of Philadelphia I was immediately put at ease by his disarming demeanor and quick smile. Soon Dick was leading me to his studio where I was instantly absorbed in his paintings, the layers of mementos from years on the road, and all his incredible photos taken during his years of traveling the country. Seeing the photos behind the paintings in person made me appreciate the paintings more, as the authenticity and honesty in the photos are staring you in the eye.

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LIVE CHEAP– NEVER DIE | RICHARD ST. CLAIR’S BIKER “ART OF THE ROAD” JUNE 17th AT TSY!

Dick at Sturgis Pic

Richard St. Clair on his 1961 Harley-Davidson Panhead, AKA Queenie. “The bike came to me in 1975 at the time my wife was expecting our first child. So we sort of had twins — one for the barn, one for the crib.” (Come meet Dick and see his work at TSY June 17th, 6-9pm.)

“If you don’t know Richard St. Clair– you don’t know Dick!

The first time I tried-out this line on Dick St. Clair– he cackled with delight. Not one of those forced, polite laughs– this was like a kid facedown in birthday cake kinda laugh. You see, Dick to this day is simultaneously amused and annoyed that something as honest and simple as going by the name Dick (his given name, mind you) makes certain people uncomfortable. Some people will wince, others kindly ask if they can call him by another name. Yes. If “Dick” makes you uncomfortable, please call him– Biggus Dickus.

Now that we got that outta the way.. Seriously– You really don’t know dick about biker art if you’ve never experienced the works of Richard (Dick) St. Clair. Dick is the real deal– having spent a good many years logging countless miles on his Harley in the ’70s – ’90s riding cross-country to the Sturgis Motorcycle Rally, Daytona Bike Week, Harley Rendezvous, and everywhere in between. He took photos that captured the life of free-wheelers, outlaws, and strays living life on their own terms. Many of these photographs gave birth to his epic paintings. There are many sides of Richard St. Clair to discover– he’s a storyteller, writer, photographer, and yes– one amazing fucking painter.

On June 17th, TSY presents “Live Cheap– Never Die” The Art of Richard St. Clair.

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WHEN PLAYBOY INFORMED SEXY DESIGN AND MADE THE BACHELOR PAD A CULTURAL ICON

Debuting in 1953, Hugh Hefner’s Playboy magazine represented the ultimate liberated lifestyle for men of the 1950s, ’60s and beyond. Some called Hef’s imaginative, artistic spreads on architecture & interior design nothing more than self-indulgent, male sexual fantasy cloaked under a flimsy cover of so-called culture. For the man that wanted to be (or fantasized of being) the master of his own hedonistic domain — Playboy was his blueprint. And Hef perfected his own personal blueprint for tapping directly into the wallet of a new consumption-based male ideal that thought (and bought) with their crotch. The Playboy man now sought the aspiration of sleek, modern design that Hugh brilliantly linked with the primal desire of getting laid.

Whatever the angle, it cannot be denied that scores of men were introduced to, and educated on, the finer points of Mid-Century Modern Design and the masters behind the movement that is now an iconic part of our history. And the Bachelor Pad, dripping with sexy, come-hither vibe, an inhibition-busting bar, and the latest modern marvels to dazzle her, was born thanks to Hef — who literally fleshed-it-out and showed us just how good it could look, make you feel, and improve your net worth with the ladies.

Playboy-townhouse-may-1962-5-xray

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PHOTOGRAPHY OF SCOTT TOEPFER | ART & INSPIRING WORDS FOR THE UNDEAD

scott g toepfer-skye_5

Some kind of life.

“It was December, riding in the back seat of my own car… a 1969 Chevy Brookwood Wagon, when I think to myself, ‘How did I get here? How did I get a good looking couple to hang out in a seedy Hollywood motel while I took photos, and then get them to drive around the city in my beat up station wagon while I tried to capture the essence of this short moment in time?’

In my early/mid/whatever 20s I was sitting at a lab bench wearing a white lab coat analyzing saliva for flu virus. Not joking, I was analyzing spit for work. At some point almost two years in I realized I wasn’t dead yet, and decided to make art.

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TALES OF SALVADOR DALI’S DEMON BRIDE | FOR LUST OF MONEY AND MEN

Funny how often we automatically assume that long-standing, famous couples must be deeply devoted, madly in love, and happier than a couple of pigs in slop. Sometimes, like in the case of Salavador Dali and his wife Gala– what looked like love may have been a case of shared sins and “the devil you know”… I found this juicy tell-all on the couple written for VF some 15 years ago that made my own mustache curl on end… I even had to omit a few bits that were just too much. Let’s just say, it seems that they deserved each other– neither of them seem exactly easy, let alone pleasurable, to be with.

salvador dali gala

ca. 1930– Salvador Dali and Gala in Port Lligat, a fishing village near Cadaques, before they married. When they met in 1929 Gala was still married to the poet Paul Eluard, and she quickly began an affair with Dali, who was around ten years her junior. After marrying Dali, she and Eluard continued their intimate relationship. “Letters to Gala”  is the published collection of Eluard’s raw, twisted, and emotional letters to Gala that expose the powerful grip she held on him.

DALI’S DEMON BRIDE

When Surrealist master Salvador Dali met Gala Devulina in 1929, the 25-year-old artist found a poisonous muse who defined decadence and outdid him in sexual perversity.

By John Richardson, Vanity Fair, 1998

That Salvador Dali fell victim to his Russian wife Gala’s lust for domination is no longer a matter of conjecture. Ian Gibson, in an eye-opening biography of the artist that Norton will publish here this month, comes up with some terrifying new facts, which reveal in more detail and depth than ever before how and why this quintessential Surrealist—the master of the soft watches—allowed himself to be destroyed by one of the nastiest wives a major modern artist ever saddled himself with.

I can testify to the accuracy of Gibson’s account. In the early 1970s I was a vice president of M. Knoedler & Co., Dali’s dealers. One of my responsibilities was keeping the artist to the terms of his contract at a time when his eye was so bleary and his hand so shaky that assistants had taken over his more arduous work. I could not help feeling sorry for the seedy old conjurer, with his rhinoceros-horn wand, leopardskin overcoat, and designer whiskers, not to mention his surreal breath. The Wizard of Was, as someone called him, was all patter and very little sleight of hand. His virago of a wife and the creepy, conniving courtiers in charge of his business had reduced Dali to a mere logo, a signature as flamboyant as his mustache.

gala salvador dali

ca. 1930– Salvador Dali and Gala in Port Lligat, a fishing village near Cadaques, before they married. Dali was reportedly a virgin when they met, who feared female private parts, and in a very close relationship with the poet Federico Garcia Lorca. There are differing opinions on whether it was a gay love affair– some say it was, while others claim Dali rebuffed Lorca’s sexual advances. Reports are also that what Dali really got off on was candaulism.

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PULP FICTION | VISUALLY GRIPPING PAPERBACK ART OF THE ’50s & ’60s

In case you missed it over on the TSY facebook page I’ve been obsessed with the below piece of work for quite some time, and finally posted it up and asked the beloved The Selvedge Yard clan for help in identifying the artist. It took about all of 2 seconds.

As a kid, my healthy diet of Happy Days, Sha Na Na, and flicks like The Lords of Flatbush deeply engrained a love of greaser culture and style that will surely remain until I die. “Bad Girls” by James Alfred Meese slays me with every viewing. Obviously the cover art was intentionally as lurid and enticing as possible to get you to part with your money and buy the “pulp” paperbacks that were named after the cheaply produced paper they were printed on. Here are a few other fine examples of pulp art, which really peaked in the ’50s & ’60s, in my humble opinion.

James Alfred Meese Bad Girls 900

Bad Girls — paperback cover art by  James Alfred Meese, 1958

bad girls james alfred meese pulp fiction art

Bad Girls– They prowl the fringe of the underworld for kicks — cover art by  James Alfred Meese, 1958

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UNITED STATE — SELECTED WORKS BY CONRAD LEACH | FEBRUARY 9TH @SUBVECTA MOTUS GALLERY

united state poster

English artist and motorcycle fanatic Conrad Leach is having his first solo exhibition in the US– happening February 9th at Subvecta Motus Gallery in LA. His graphic Pop style is instantly iconic, and not to be missed– especially when you have the rare opportunity to be face-to-face with the large-scale punchy paintings. Leach’s work will knock your socks off. –Curated by friend Stacie B. London of Triple Nickel 555 & ESMB.

LUCKY13

Lucky 13 by Conrad Leach

NORTON JACK

Norton Jack by Conrad Leach

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SCOTT TOEPFER’S ORIGINAL BLACKBIRD PHOTOGRAPHY | DENIM ON 2 WHEELS

Good friend Scott Toepfer shot some amazing images for the TSY x PRPS x TRIUMPH Blackbird limited edition jean were all the buzz at the event held at Fast Ashley’s Studios in Brooklyn, NY. Those of you poor souls who were unable to attend deserve a gander too because they are that good. Looking forward to doing this again!

The Black Flag tribute on the helmet is simply strips of everyday black electrical tape. Brilliant. Blackbird event original image by © Scott Toepfer photography

TSY x PRPS x Triumph Motorcycles limited edition Blackbird 14 oz jean — Blackbird event original image by © Scott Toepfer photography

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JULIUS SHULMAN | THE DEFINING EYE OF ARCHITECTURAL PHOTOGRAPHY

When people speak of architectural photography, these two images always come up as arguably the most iconic and moving of all. You may not know the photographer’s name, you may not know the architect– but if you’ve ever seen these images and appreciate both photography & architecture, they are most likely seared on your mind’s eye.

Julius Shulman was a photographer for 70+ yrs, capturing some of the world’s most amazing structures and spaces ever created by man. He set the standard that others now strive to reach, and when they can’t– they may simply stage or frame a shot using his famous works like a proven template as homage and acknowledgement that it just doesn’t get any better. Shulman brought Mid-Century Modern to the world as much as the legendary architects he worked with. Sought out not just for for his incredible eye– he had an innate ability to understand and interpret the architect’s intent, and tell that story strikingly with laser-like focus. Correction: Shulman didn’t set the standard– he is the standard.

Architect Richard Neutra’s “other” Kaufmann House built in Palm Springs, 1946– the first being Fallingwater, and yes– Frank Lloyd Wright’s feathers were indeed ruffled over this apparent snub when Pittsburgh department store magnate Edgar J. Kaufmann selected another architect for this project. Published in the LIFE Magazine feature “Glamourized Houses” in 1949. –Image by © Julius Shulman / J.Paul Getty Trust / Julius Shulman photography archive. “No other architect Shulman worked with was as controlling as Neutra. He would look through the viewfinder and adjust the camera, only to have Shulman move it back when he turned his head. Theirs was a battle of egos, of who was in charge of what and whom. This was never more so than when Shulman photographed the Kaufmann House on a 1947 evening. He set up inside as the sun began to fall behind the mountains, but to capture the fleeting dusk he decided to move outdoors. Neutra wanted him to stay put. Shulman ignored him and placed the tripod on the lawn facing west. As the sky darkened, the house glowed. For the next 45 minutes Shulman ran in and out of the glass house, switching lamps on and off, opening and closing the shutter to burn in the light. At the end of the exposure he asked Mrs. Kaufmann to stretch out on the deck. Who wouldn’t want to imagine themselves there? The photograph, its lights and darks forming a thousand shades of gray, the geometric lines of the house set against the jagged range, would become one of Shulman’s two most reproduced works.” –Mary Melton

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