Neptune Wavey, Friend
Saturn
Dana Boulos, Summer Bowie, Dani Drasin
Dana Boulos
Greg Ito, Karen Galloway
Elena Petrossian, Georgi Chiang
Cherry, Saturn
Los Angela, Dani Drasin
Paloma Maisonet, Nancy Gamboa,
Oliver Kupper, Greg Ito
BJ Panda Bear, Friend
Fred Holston, Friend
Amanda Wall, Friend
Onyedika Chuke
Magnus Unnar
Arnoud Verhaeghe
Morgan Cozzi, Friend
Sow & Tailor gallery invited Autre Magazine to close out art week in Los Angeles at the new intimate Holloway House by Soho House in West Hollywood surrounded by a brilliant curation of works by some of our favorite Los Angles-based artists like Greg Ito and Sayre Gomez. Sounds were provided by DJs Dana Boulos, Cherry and Saturn. photographs by Oliver Kupper
Inspired by the conversation pits of the 1970s, Australian designer Sarah Ellisonβs FLOAT sofaβavailable in a rich Pantone brown called Piccolo or a bouclΓ© fabricβwas fΓͺted high above Sunset Strip at the iconic Stahl House. Speaking to Ellison at the famous Case Study House #22, she remarked on how wonderful the clash was between her obsession with 70s aesthetics and mid-century mod. A low-slung multi-seater that is modularly configurable, the sofa is an instant classic. photographs by Adrian Gaut
Click here to read more.
Peter Shire
Nadia Lee Cohen & Friends
Nadia Lee Cohen
Ashton Sanders
Ron Athey
Polly Borland
Jeffrey Deitch
Jeffrey Deitch & Oliver Kupper
Bill Powers and Brett Robinson
Michael Smoler and Lisa Johns
Bianca Lexis and Zoya
Sissy and Eddie Chacon
Alligator Jesus
Louise Bonnet and Adam Silverman
Alex Golden and Shahla Friberg
Rain Phoenix and Michael Cavadias
BJ Panda Bear
Ben Lee Ritchie Handler, Nicolette Mishkan and Polly Borland
Agathe Pinard and Kaitlin Magowan
Ashton Sanders and Summer Bowie
Zehra Ahmed and Morgan Elder
Isabelle Albuquerque & Jon Ray
James Goldstein
Pierre Auroux and Barnaby Kupper
John Angus Stewart and Amy Taylor
Jena Malone and Lem Jay Ignacio
TorbjΓΈrn RΓΈdland
Sam & Amber Salad
Mickey Lee & a Friend
Avalon Lurks and a Friend
Raymond Lee
Pietro Alexander
David Quadrini & Matias Asterlind
Lita Albuquerque
John Carrol Kirby
Hunter Shaw & Blakesley King
Ian Svenonious
Alima Lee
SissoΜn
Camila Doring & Harper Simon
Ariana Papademetropoulos
Shelley Holcomb, Katherina Olschbaur, Paige Emery
Yasmin Istanbouli
Cole Alexander
Rafa Esparza
BJ Panda Bear & Steven Taylor
Casey Spooner
Autre Magazine and Jeffrey Deitch host their annual Frieze Week kickoff to celebrate one of the busiest cultural weeks in Los Angeles. Guests sipped on Grey Goose vodka coladas and enjoyed a slideshow by artist Nadia Lee Cohen high on the rooftop of western themed bar Desert 5 Spot within the Tommie Hotel in Hollywood. photographs by Oliver Kupper
all clothing by Balenciaga Spring 2023
Nastya wear dress by Miu Miu
boots by Balenciaga
Celine wears dress by & Other Stories
bag by Vagabond
rings by mussels and muscles
Nastya wears jumper by Raf Simons
boots by Balenciaga
bag by Vagabond
Sandra wears dress and earrings by Balenciaga
pumps by Steve Madden
bag by Agneel
ring by mussels and muscles
Zen wears top by Axel Arigato
skirt by Joseph
shoes by Vagabond
necklace by Bottega Veneta
earrings by mussels and muscles
Celine wears top by Jacquemus
pants by Aligne
earrrings by Sabrina Dehoff
Ana wears two-pieces by & Other Stories
boots by Iceberg
earrings by Sabrina Dehoff
Ana wears full look by Balenciaga
earrings by Sabrina Dehoff
Sandra wears dress by Wolford
earrings by Balenciaga
bag by Bottega Veneta
pumps by Scarcosso
Zen wears bodysuit by Falke
culottes by Joseph
earrings by Sabrina Dehoff
ring by Akind
bag by JΓ©rΓ΄me Dreyfuss
Celine wears body by Ganni
pants by Ivy & Oak
earrings by Sabrina Dehoff
belt by Diesel
bag by JΓ©rΓ΄me Dreyfuss
mules by Kurt Geiger
Zen wears trenchcoat by & Other Stories
tights by Falke
earrings by Vivienne Westwood
gloves by Roeckl
shoes by Vagabond
Zen wears two-piece by Ganni
tights by Falke
Celine wears pants by Ivy & Oak
earrings by Sabrina Dehoff
gloves by Roeckl
bag and belt by Diesel
shoes by Kurt Geiger
Nastya wears dress by Marc Cain
bag by Dior
mules by Ferragamo
Hedi Slimane delves into todayβs youthβs rediscovery of the 2000βs electro clash and electronic rock sounds and scenes, a movement appearing in major cities like Paris, London and New York. He pays tribute to New Yorkβs cult proto-punk band Suicide formed in 1977 by Alan Vega and Martin Rev, a band who in 2023 still intrigues and inspires the emerging music scenes. Key to the collection, the tight black leather Celine pants, are paired in βdouble leatherβ with biker and racer jackets customized with studs or rhinestones. The Celine coats are worn oversized and are cut out of cashmere or english tweeds recreated on a traditional loom. The Celine suits are slightly raised, worn with cropped flared trousers. The embroideries are handmade in the Parisian couture ateliers. The giant leopard and tiger printed coats are made from shearling cashmere. The models wear βnightclubbingβ perfume, part of the Celine haute parfumerie collection. The pieces that pay tribute to Le Palace iconic years are limited edition.
The Celine 18 β Menβs Winter 2023 show is taking place at the legendary Le Palace in Paris. A place dear to Hedi Slimane that he frequented most nights during his youth starting from the age of 16 - Le Palace remains a sentimental place which triggered his future as a couturier and where he celebrated his 50th surprise birthday party in July 2018.
Originally built as a theatre dance hall in the 17th century, but also known for its years as a nightclub, in 1978 le palace was taken over by renowned impresario Fabrice Emaer, who animated the paris nightlife at the time. Commissioned by emaer to reimagine the space, architect patrick berger participated in revamping its rich art deco interior, installing the emblematic and modern chandelier of neon lights, playing a major role center stage lighting up the walls embellished with gΓ©rard garouste paintings.
Once considered a french version of new yorkβs Studio 54; the iconic Le Palace was one of the first nightlife venues where a variety of communities could mix freely with exuberance, attracting the likes of Yves Saint Laurent, Grace Jones, Prince, Karl Lagerfeld, andy Warhol, Serge Gainsbourg, Mick Jagger, Jerry Hall and many more who enjoyed masked balls and live performances before making their way to the basement to Le PrivilΓ¨ge private club.
Photograph by Max Barnett
Born in Harrogate, North Yorkshire, Holly Blakey found contemporary dance as a teenager. After she was rejected by a number of well-known dance schools, she attended University of Roehampton where teaching dance was the only option. What was initially a devastating and painful life transition turned out to be a profound moment for Blakey, leading to a fruitful career as a choreographer. Free from the confines of institutional models and languages of dance, she created her own β one that advocates drama and our lived experiences.
Honesty, intimacy, and a sense of community feed into her work, as does her fascination with music, film, and TV. Her ability to emulate pop culture has led Blakey to traverse multiple creative industries such as directing music videos for musicians who include Florence Welch and Coldplay. She also had a longstanding collaboration with the late fashion designer Vivienne Westwood, whose widower Andreas Kronthaler, has designed the costumes for the return of her performance of Cowpuncher My Ass. This Wild West dance show, scored by Mica Levi, takes the notion of the hyper masculine, yet camp cowboy, as a starting point to explore the archetypes of masculinity through non-linear perspectives.
Cowpuncher My Ass will be playing at Royal Festival Hall, Southbank Centre, Wednesday 15 February at 7:30 pm.
Autreβs London editor at large, Lara Monro, spoke with Blakey in between rehearsals to discuss how the performance challenges what might be deemed acceptable in choreography and much more. Read more.
On January 27, Pussy Riot brought its radical performance art to Jeffrey Deitch's Los Angeles gallery, inviting everyone to join their protest against the authoritarian leader of Russia who started the biggest war in Europe since World War II. This was the first presentation of Pussy Riotβs political performance art at a gallery in Los Angeles.
Putin's Ashes was initiated in August 2022 when Pussy Riot burned a 10 x 10 foot portrait of the Russian president, performed rituals, and cast spells aimed to chase Putin away. Twelve women participated in the performance. In order to join, women were required to experience acute hatred and resentment toward the Russian president. Most of the participants were either Ukrainian, Belarusian or Russian.
Pussy Riot's founding member Nadya Tolokonnikova bottled the ashes of the burnt portrait and incorporated them into her objects that were being presented alongside her short art film, Putin's Ashes, directed, edited, and scored by Tolokonnikova.
"While working with artifacts, bottling ashes and manufacturing the faux furry frames for the bottles, I used skills that I learned in the sweatshops of my penal colony. I was forced to sew police and army uniforms in a Russian jail. I turned what I learned in my labor camp against those who locked me up. Putin is a danger to the whole world and he has to be stopped immediately," says Tolokonnikova.
In 2012, Tolokonnikova was sentenced to two years imprisonment following an anti-Putin performance. She went through a hunger strike protesting savage prison conditions and ended up being sent far away to a Siberian penal colony, where she managed to maintain her artistic activity and with her prison punk band made toured around Siberian labor camps. Tolokonnikova published a book Read and riot: Pussy Riot's guide to activism in 2018.
Pussy Riot stands for gender fluidity, inclusivity, matriarchy, love, laughter, decentralization, anarchy and anti-authoritarianism.
DΓ©bora is wearing blazer and shoes by Comme des Costumes, stockings by Falke, earrings by Uncommon Matters, and brooch by Hugo Kreit
gloves: stylistβs own
Krista is wearing dress by Lou de BΓ©toly, faux fur coat by Comme des Costumes, fishnet, stockings and socks by Falke.
shoes and necklace: Kristaβs own
Eliza is wearing vintage Mugler by Nightboutique Berlin, heels by Comme des Costumes, rings and earrings by Alan Crocetti. gloves: stylistβs own
Krista is wearing dress by Lou de Bètoly, faux fur coat by Comme des Costumes, fishnet, stockings and socks by Falke.
shoes and necklace: Kristaβs own
Krista is wearing dress by Jean Paul Gaultier x Lotta, Volkova by Nightboutique, coat by A Better Mistake, and shoes by Buffalo
headpiece by Bjoern van der Berg at Nightboutique Berlin
Krista is wearing dress by Jean Paul Gaultier x Lotta. Volkova by Nightboutique, and coat by A Better Mistake
Eliza is wearing tank top by Axel Arigato.
Krista is wearing net tights and socks by Falke.
jewelry: Kristaβs own
The Body Remembers, Le Cake-Walk, Wish You Were Here, 2020 Β© Heather Agyepong
On Thursday 26 January The Centre for British Photography will open for the first time. Founded by the gallerist and philanthropist, James Hyman, the charitable organization will present free, self-generated exhibitions as well as those led by independent curators and organizations championing the work of British photographers.
Hyman explains: βWe hope that through this initial showcase to make a home for British photography we can, in the long run, develop an independent centre that is self-sustaining with a dedicated National Collection and public program.β
There will be two leading exhibitions, organized in partnership with Fast Forward Photography. Headstrong: Women and Empowerment celebrates photographers based in Britain who have made work concerned with how they are represented, what they are dealing with in their everyday lives and what it means to embrace diversities that challenge the conservative order of a patriarchal society. And, Images of the English at Home takes the viewer on a journey from the street, up the front steps, and into the private spaces of the living room, kitchen and bedroom before sending them out into the back garden.
Alongside the exhibitions, The Centre will spotlight five British photographers as part of an In Focus display; Natasha Caruana, Jo Spence, Andrew Bruce, Anna Fox and Heather Agyepong.
Autreβs London editor-at-large, Lara Monro, spoke with the multidisciplinary artist, Heather Agyepong, to discuss her body of work, Wish You Were Here. Commissioned by The Hyman Collection in 2019, the series explores the work of Aida Overton Walker, the celebrated African American vaudeville performer who challenged the rigid and problematic narratives of Black performers. Read more.
Until Semiotext(e) published Love Me Tender, Constance DebrΓ© was unknown in the United States. Like most French novelists, DebrΓ©βs life and literary career happen in Paris, a city sheβs called home since birth, a city that seems to have shaped her classic French distaste for many current American cultural exports and obsessions. And perhaps itβs that Parisian je ne sais quoi that helps explain, in part, Love Me Tenderβs splashy reception among American literati. Few foreign novels get translated and even fewer receive glowing reviews in The New Yorker, The Guardian, and The LA Review of Books. So, why is this novel appealing to Americans? And what does its embrace say about US literature?
Love Me Tender follows an unnamed narrator who abandons her bourgeois marriage and law job to become a writer. Along the way, the protagonist loses custody of her young son after her spurned ex-husband weaponizes her newfound lesbianism against her. In a surreal literary twist, the ex-husbandβs attorney convinces the courts that her collection of books by Genet, Bataille and de Sade prove her degeneracy and the embittered ex wins full custody. As the narratorβs legal appeals inch through the French courts, she writes, swims and takes many lovers, her months punctuated by awkward, chaperoned visits with her son at a state-run center once every fifteen days. Love Me Tender is a painful examination of motherhood, family, and the lines an artist must draw between themself and the world. But itβs also a punky take on sex and freedom drawn from DebrΓ©βs own biography, though the novelist provocatively insists that the book is not βaboutβ her.
Reading the novel in LA during the waning days of 2022, I couldnβt help but see in it a rebuke of the current literary moment, one often critiqued as straight-jacketed by moral and social objectives. On the other hand Love Me Tender is deliciously French, the narrator unsentimental, blasΓ© even about choosing literature over motherhood, responsibility, and the trappings of upper-middle-class life.
Originally, DebrΓ© and I met at the LA launch of Love Me Tender in October, 2022. After inhaling the novel, I invited her to read at my reading series Casual Encountersz β I was curating one in Paris and DebrΓ© enthusiastically accepted. Though a health issue ultimately kept her from the event, we met the following afternoon at Chez Jeannette, a bistro in Strasbourg Saint Denis popular among Parisian artists, writers, and glitterati. DebrΓ©, like the narrator in Love Me Tender, has a swimmerβs build and in person sheβs warm and intellectual, kind of grand in her own way, gently tapping sugar crystals into an espresso, often palming her buzzed head of hair. Despite the lousy January weather, we sit outside, DebrΓ© across from me with her back to the street, just beyond Chez Jeannetteβs awning. Though it drizzles throughout our conversation, DebrΓ© seems indifferent to the rain. Read more.
Neve wears full look by Mowalola.
shoes: stylistβs own
Kwadwo wears pants and jacket by Nadia Roberts.
skirt: Mowalola
shoes: Alyssa Marie Groeneveld
Kristie wears full look by Ethan Mullings.
shoes: Eva Lee
Em wears top and skirts by Alyssa Marie Groeneveld.
leggings: Diesel
boots: Brogan Smith
John wears dress by Eva Lee.
shoes: Sarah Inyoung Park
tracksuit: Diesel
heels: Brogan Smith
tights: Raquel de Carvalho
John wears tracksuit by Diesel.
Em wears jacket and shorts by Diesel.
bra: modelβs own
bralette: Raquel de Carvalho
boots: Brogan Smith
Dehiry wears shirts by Pariahcorp.
pants: Alyssa Marie Groeneveld
full look: Balenciaga archives
coat: Barbour International
jacket: Brogger
dress: Jaded London
shoes: Louis Vuitton x Vestiaire Collective
full look: Ottolinger
top & dress: Preen by Thornton Bregazzi
skirt: Gucci archive
glasses: HBA x Gentle Monster
full look: Balenciaga archives
At dinner with Pussy Riot founder Nadya Tolokonnikova after a reading at UCLA, the famous Russian writer Vladimir Sorokin gets ready to make a toastββhe loves making toasts. His toasts are often wry, slightly sarcastic, and metaphysical. Theyβre like little slogans drawn from his novels. But, getting ready to pronounce this one, he looks deadly serious.
He meets Nadyaβs eyes and raises his broad-bulbed glass of Malbec:
βTo a hero of our time!β
He takes a beat as glasses clink.
βI mean it Nadyaβ¦ youβre a true hero of our time.β
Nadya looks touched. She thanks Vladimir in heartfelt fashion.
But Vladimir is also being a little bit funny. He does believe that Nadya is a hero of our time, he wouldnβt say it otherwise, but those precise words are, of course, a reference to the title of the classic Lermontov novelββa Romantic text about a doomed Russian soldier in Central Asia.
The meat of his words are what he means, but their surface always has a conceptual cast to them.
The dinner continues.
The reason Vladimir feels such a strong kinship with Nadya isnβt entirely explicable by way of typical notions of the Dissident in Russia. Vladimir is quite skeptical of the stereotypical cult figure of the dissident writer. Even so, throughout his 40-year career, Vladimir has constantly been in the crosshairs of the powers that be for his wildly controversial reimaginings and desacralizations of Russian life. In his first novel The Norm, he depicts the Soviet Union as an enormous social experiment in which the single most substantial rule is that all citizens must eat literal shit (referred to as βnormβ) every dayββor be arrested. In Their Four Hearts, he recasts the end of the Soviet Union as a Bataillean rampage filled with pedophilia and coprophagia.
And in My First Working Saturday, he brings his experience in the Moscow Conceptual Underground to bear in the creation of strange prose texts that draw more from Andy Warhol than they do from Fyodor Dostoievsky. Starting out not as a writer, but a painter, Vladimir was inspired by the way that painters in the Moscow Conceptual Underground like Eric Bulatov and Ilya Kabakov simply appropriated Soviet visual tropes and used them in their paintings in a way that, though they were hardly altered, entirely deflated them. The short-story collection My First Working Saturday is made up entirely of binary bombs: their first halves are pitch-perfect imitations of Soviet Socialist Realist prose, but, in the middle of each story, thereβs an explosion and some aberrant act of violence or linguistic insanity pushes the story into a new world that couldnβt be further from official Soviet aesthetics.
However, itβs the novel Marinaβs 30th Love that seems most relevant to Vladimirβs adulation of Nadya. In that book, the titular lesbian dissident often masturbates to the icon-like picture of Solzhenitsyn by her bed:
Through the spreading cigarette smoke, Marina met those eyes for the umpteenth time, then sighed.
HE always looked as if he were waiting for the answer to a question posed by his piercing eyes: what have you done to merit being called HUMAN? βI try to merit it,β she replied with her eyes, large and slanting like a doeβs. And, as always, after the first mute conversation, HIS face began to grow more kind, his pursed lips lost their sternness, the wrinkles around his eyes gathered together softly and calmly, and loose strands of hair fell onto his forehead with a human helplessness all too well-known to her. His triangular face lit up with a familiar, tender kindness.
[...] Marina was certain that everything with HIM would come to pass properly. As it was meant to happenββthat which, alas, sheβd never had with a single man. That stupid, medical-sounding term ORGASM was shoved out of her fantasies with disgust, synonyms were searched for, but they werenβt able to describe what the heart felt so sharply and clearlyβ¦
[...] HE always remained a form of secret knowledge, a hidden possibility of true love, that which Marina dreamed about, that which her slender, swarthy body craved, falling asleep in the arms of yet another girlfriendβ¦
Even though she canβt have orgasms with men, Marina imagines that SolzhenitsynββHEββwill manage to give her one. For Vladimir, this part of the novel acts as a way to distance himself from basic, unreflective dissidence. His dissidence is better represented by Marinaβs masturbation or by Stalin and Khrushchevβs apolitical anal sex in Blue Lard than it is by unimaginative pamphleteering.
When Vladimir cheekily referenced Lermontov in calling Nadya a βhero of our timeβ at dinner, Iβm certain that his words were a way of making it clear that she also belongs to this nuanced mode of dissidence.
Indeed, Nadya has proven herself capable of mastering wildly diverse idioms of art and discourse, then handily transforming them into conceptual outgrowths of her central project, which is simultaneously political, sexual, and aesthetic. To claim that Nadyaβs whole project is simply undermining the Russian government would be just as ridiculous as those who would have Sorokin be a straightforward anti-Russian dissident in a Solzhenitsian mode. Itβs for this reason that Nadya has said that βfor better or worse, there would be no Pussy Riot without The Norm and Blue Lard.β
Like Vladimir, Nadya coΓΆpts genres and styles, eviscerates them, then makes them her bitch.
An able and worthy mistress, Nadya turns punk rock, NFTs, conceptual installations, and performance art into latex-masked subs, all performing her will in a state of total submission.
Just like in Putinβs Ashes, a squadron of balaclava-clad women doing a ritual to bring about Putinβs death, they bear a flag with the Russian word for CUNT and a button that βneutralizes Vladimir Putin,β they stand in formation before a burning effigy of Putinβs face, Nadya, wearing a white balaclava, is the leader, drone shots above them in the beautiful desert night, the entire squadron stabs the ground, the women spit into the sand in Putinβs general direction, then Nadya collects the ashes from the effigy.
Just as is the case with everything else that passes through her art, the Putinβs Ashes project has turned Vladimir Putin into Nadyaβs bitch.
Yes, in a very real way, over the course of the video, these ashes become Putinβs real ashes and no effigy.
In that same vein, these days, Nadya often recites Orthodox prayers for Putinβs swift and painful death.
This performance might seem confusing from the perspective some people once had (or still have) of Nadya: a rock musician who writes anti-Putin music and was arrested for performances in public places. How narrow-minded and inaccurate! Punk was merely the medium for her message at that time. Now, itβs Death Grips and gabber-influenced electronic musicββsometimes ornamented by her truly awesome death-metal screamsββthat has become a better accompaniment to her aesthetic project.
But her project goes far beyond music. Given her recent collaboration with Judy Chicago, and the Putinβs Ashes exhibition, it should by now be utterly clear that Nadya is an artist who takes control of conceptual modes in the same way that Sorokin and his conceptual forebears in the Moscow underground once did.
Any artistic idiom should be so lucky as to have Nadya dominate itββto have Nadya as a mistress.
Like Marina masturbating to Solzhenitsyn, Nadya represents a challenge to fossilized forms of dissident activity.
It goes without saying that, in delivering his toast, Vladimir also meant that Nadya is a βhero of our timeβ in terms of sheer physical bravery. Thatβs probably what gives her a certain affinity with Lermontovβs hero. Sheβs a badass who puts herself in dangerous situations that most people wouldnβt dream of. But what she does on top of that, as in Putinβs Ashes is hyper-nuanced.
Itβs conceptual art and sheβs a conceptual artistββeven in the context of NFTs, and OnlyFans, and over-the-top music.
I canβt wait to see what idiom this βhero of our timeβ appropriates nextββto see which artform gets to wear the latex mask. Whatever it ends up being, Iβm sure it shall be completely and utterly dominated by Nadyaβs fierce artistic, political, and sexual energy.
ΠΠΎΠΆ Π΄Π»Ρ ΠΡΡΠΈΠ½Π° ΡΠΎΡΡ,
ΠΠ»Π° ΡΠ΅Π±Π΅ Ρ Π½Π΅ ΠΏΡΠΎΡΡ.
Sharpening a knife for Putin,
I will not forgive your evil.
Max Lawton is a writer and musician, and translator of many books by Vladimir Sorokin and Jonathan Littell.
Putinβs Ashes will be on view at Jeffrey Deitch from January 27 through February 3, 2023. 7000 Santa Monica Boulevard, Los Angeles, CA 90038. On opening night (6-8PM), there will be a performance, click here to RSVP. Only people in balaclavas will be granted entry. Balaclavas will be provided at the gallery entrance. Guests are encouraged to bring their own balaclavas.
flyer by Shepard Fairey
Nadia Lee Cohen and Jordan Wolfson
Polly Borland and Michael Slenske
Julia Ehrlich and Paulo Sutch
Greg Ito
Pat Martin
Amber Halford and Jordan Richman
Nadia Lee Cohen
Summer Bowie
Dylan Brosnan and Avery Wheless
John Caldwell and Nadya Tolokonnikova
Oliver Misraje
Oliver Kupper
Nadia Lee Cohen and Alia Penner
Jordan Wolfson
Ben Lee Ritchie Handler
Aaron Rose
Esben Weile Kjaer
Odilia Romero and Gladys Tzul Tzul
Bill Powers and Mickey Lee
Amber Halford and Laura Whitcomb
Arty Nelson
Melahn Frierson and Nadia Lee Cohen
Jon Goss
Ben Lee Ritchie Handler and Karen Galloway
Charlotte Rutherford and a friend
Mimi Wade and Jordan Wolfson
Josh Landau
Last night at Neuehouse Hollywood, Autre hosted an intimate gathering of friends and contributors for a dinner to celebrate the Losing My Religion issue (#15 Fall/Winter 2022). photographs by Oliver Kupper
