On a trip to Sicily in 2014, the New York-based photographer Sally Gall visited Greek ruins, Byzantine mosaics and Mount Etna. The dramatic volcano would have been an obvious choice of subject for Gall, whose work has focused on nature — from formal gardens to underground caves — for more than three decades. But there, in the ancient city of Syracuse, a surprising fascination emerged: “As I walked through all the narrow streets,” she says, “my gaze was drawn upward to a swirl of moving color, which turned out to be laundry hung out to dry from balconies.” Over the next two years, Gall traveled to seaside cities in Italy, Cuba and Croatia, capturing the movement and forms of hanging laundry and, later, kites. Inspired by the nonrepresentational paintings of Kandinsky and Miró, she pared away all but the essential details, developing abstract compositions against clear blue skies. The resulting series — now on view at Julie Saul Gallery in New York City — is transformative: In image after image, whirling, wind-tossed dish towels, dresses and denim conjure the shapes and colors of blooming poppies and flocks of birds. Through March 2 at Julie Saul Gallery, 535 West 22nd Street, saulgallery.com — ZIO BARITAUX

  Stonehenge is among the world’s most famous prehistoric monuments. For Sofia Prantera, the Italian-born founder of the London-based streetwear label Aries, “it encapsulates a sense of history, mystery and longevity while being immediately recognizable.” To put it another way, she says, “the trilithon shape has the power of an ancient brand.” Prantera, who co-founded Aries in 2009 with the graphic designer Fergus Purcell, shares an interest in ancient history with the Turner Prize-winning artist Jeremy Deller, a friend from her student days at Central Saint Martins. On January 16, the pair will release a 38-piece clothing and home wares collection, titled Aries x Jeremy Deller, that draws on this fascination with the prehistoric. Aries’s signature sweatshirts and oversize T-shirts will come decorated with Druidic symbols derived from Deller’s Neolithic-inspired sketches, as well as tongue-in-cheek slogans such as “Make Archaeology Sexy Again.” The collection also displays an enduring love of Britain’s rave culture of the early ’90s: One T-shirt substitutes the eyes of the iconic smiley face symbol with standing stones.

  The accompanying images were taken at Stonehenge by two of Prantera’s longtime collaborators, the photographer David Sims and the stylist Jane How. Shooting at the Neolithic site was a rare opportunity made possible through Deller’s connection with English Heritage, the charity that is responsible for managing the landmark and which last year commissioned him to recreate his 2012 project “Sacrilege” — a giant inflatable model of Stonehenge — to celebrate a century since the monument was gifted to the nation by Cecil Chubb, a Wiltshire barrister and landowner. “To be able to go inside the structure and see these stones that dwarf human beings was impressive,” recalls Deller, “It has a presence. The fact is that we will never really know why people created this place.” The images, and a film by Deller, will be part of an exhibition titled “Wiltshire B4 Christ,” which will open at London’s The Store X, 180 The Strand, in January alongside a book of the same name. ariesarise.com — KIN WOO

  In February 1998, the Pulitzer Prize-winning critic and curator Hilton Als published a provocative profile of the great American writer James Baldwin in The New Yorker. Every few years since, Als has returned to Baldwin on the page and in art to reveal that there was not one Baldwin but Baldwins — political philosopher, international flâneur, screenwriter. Amid the intense contemporary interest in Baldwin’s life and legacy comes Als’s latest exhibition, “God Made My Face: A Collective Portrait of James Baldwin,” now on view at David Zwirner Gallery. In it, Als has curated what he calls “a composite” sketch of the celebrated novelist and essayist with video, photography and painting by artists including Ja’tovia Gary, Kara Walker, Glenn Ligon, Alice Neel, Peter Hujar and Richard Avedon.

  Divided into two parts — “A Walker in the City” and “Colonialism” — the show visualizes aspects of the literature that took Baldwin from a Harlem boy preacher to a lion of letters who disabused America of the notion that it was living its ideals. It tackles his resulting isolation, balancing heavily discussed themes in his writing like race with threads “still not explored in contemporary literature as a possibility,” says Als, such as the fact “that there can be black men who love one another.” But it’s Baldwin’s penchant for art that carries the show: A 1941 nude, titled “Dark Rapture (James Baldwin),” is an oil portrait of the writer at age 15 made by his friend, the gay Modernist painter Beauford Delaney. That work is on view alongside ephemera, such as Baldwin’s personal letters and pencil drawings, that Als describes as “new treasures.” They show that Baldwin knew, and knew how to render in more than just words, the often overpowering dynamic of desire. “I think that this show,” notes Als, “is a way of giving him just due as a significant queer artist.” Through Feb. 16 at David Zwirner Gallery, 525 & 533 West 19th Street, New York, davidzwirner.com — ANTWAUN SARGENT

  Right about this time of year, when the streets of New York are a sea of dark-colored puffer coats, it’s particularly easy to fantasize about spring — spring with its paper-thin dresses, its subtle pastels and simple lines. This season, La Garçonne, the e-retailer and TriBeCa boutique run by Kris Kim, has an offering that makes the pull of the new season that much stronger.

  In a collaboration with Josep Puig of Bielo, a young brand from the Spanish knitwear giant Parrillus, Kim has designed a capsule collection of 10 minimalist pieces. There are pleated A-line skirts, color-blocked sweaters in Peruvian Pima cotton, and a lightweight knit jacket in bubble-gum pink. Though Kim has carried Bielo at La Garçonne for three seasons, this is the first time they’ve collaborated. “I discovered the line in Paris and thought the colors and prints in the knitwear were great, and felt that there was a void in a less-conservative, fashion-forward knitwear at the time,” Kim said in an email. Referring to her store’s reputation for neutrals, she added: “Some may think Bielo is too bright for La Garçonne and be surprised, but I will say they are the perfect bright shades for our client, who craves color too — just the right ones, in the right styles.”

  And, in keeping with the ethos of La Garçonne, the pieces in the collection are meant to be a kind of neutral — easy to wear every day. “Modern women’s lives are chaotic,” Puig said. “So why not take the tailored skirts and jackets of past generations, deliberately mess them up and translate them into cozy knitwear, enhanced by tenderness and just enough color?” lagarconne.com — ISABEL WILKINSON

  Anyone who’s ever played with a dollhouse or surveyed the Thorne Miniature Rooms at the Art Institute of Chicago knows the feeling of wishing it were possible to enter those tiny realms and wander from one neatly appointed room to another. That dream is made somewhat possible with “Blow-Up,” a new exhibition at Friedman Benda in Chelsea, Manhattan, that consists of a life-size dollhouse. In other words, the gallery rooms, which have been transformed into a kitchen, dining room, bedroom, study and nursery, are filled with furniture pieces designed for a miniature world and then rescaled for our own. These works differ, ever so slightly, from regular furniture because of the quintessential form and tone of dollhouse pieces, and because problems can arise when scale changes and proportions don’t, something designers, who often work with maquettes, know all too well. Curator Felix Burrichter, the editor and creative director of the biannual architecture magazine Pin-Up, likens the end results to “the art of the uncanny.”

  There’s plastic cutlery by the New York designers Chen Chen and Kai Williams that is roughly the size of salad tongs and a sturdy wooden chair that the German-Moroccan studio Butternutten modeled after the one used in the television show “Teletubbies” to teach the concept of a chair to toddlers. These commissioned works sit alongside several vintage ones such as a pair of Shiro Kuramata “How High the Moon” sofas, whose typical rounded shape is subverted by their steel mesh material. “The spaces you occupy talk back to you about the time you live in,” says Burrichter. “So, while it’s a playful show, the hope is that people will walk away from it questioning certain embedded social codes.” He worked closely with the exhibition designer, Adam Charlap Hyman of Charlap Hyman & Herrero, who as a child traveled with his parents to see Queen Mary’s Dolls’ House, among others, and who is responsible for the space’s decal fireplace and painted doors to nowhere. “So it will really feel like a house,” I said to Marc Benda, a founding partner of the gallery, when he first described Burrichter and Charlap Hyman’s vision to me. He offered an important correction: “It will feel like a fake house. A make-believe make-believe.” Through Feb. 16 at Friedman Benda, 515 West 26th Street, New York, friedmanbenda.com — KATE GUADAGNINO

  As soon as they launched the cannabis-focused magazine Gossamer last year, co-founders Verena von Pfetten and David Weiner started to field questions about marijuana and sleep. “We were consistently recommending certain CBD products,” says von Pfetten, referring to cannabidiol, a non-psychoactive hemp extract — and the buzzy ingredient now found in everything from cosmetics to dog treats. But after speaking to Dr. Alex Capano, who holds the only doctorate in cannabinoid science in the U.S., the duo learned that although CBD can certainly cause drowsiness, it’s CBN (cannabinol) that helps with slumber. On Monday, after nearly two years of research, Gossamer will introduce its first cannabinoid product, Dusk, a rest-inducing tincture made from CBD, CBN and a blend of terpenes, fragrant organic compounds. Each bottle comes with a complimentary “dream” written by the poet Mathias Svalina. As von Pfetten explains: “We’re viewing this as a limited-edition batch, but if it’s successful, we wouldn’t rule out making more of it.” , gossamerdusk.com — HILARY MOSS



  今日香港跑狗玄机图“【小】【伊】,【你】【继】【续】【看】【着】,【不】【要】【让】【别】【人】【进】【我】【们】【这】【个】【院】【子】。【我】【在】【蓝】【雪】【公】【主】【身】【边】【护】【法】。” 【叶】【青】【吩】【咐】【完】【小】【伊】【后】【便】【在】【蓝】【雪】【公】【主】【身】【旁】【盘】【膝】【坐】【下】,【同】【时】【检】【查】【一】【下】【自】【身】【的】【状】【态】。【主】【要】【是】【熟】【悉】【一】【下】【自】【己】【现】【在】【的】【实】【力】【究】【竟】【如】【何】。 【叶】【青】【很】【快】【就】【发】【现】,【自】【己】【的】【灵】【魂】【之】【海】【中】【多】【了】【一】【些】【东】【西】。【除】【了】【那】【颗】【早】【就】【存】【在】【的】【镇】【魂】【珠】【外】【还】【多】【了】【两】【个】【小】【型】【球】【体】,

  【将】【两】【个】【半】【块】【青】【铜】【貔】【貅】【块】【拿】【在】【手】【里】,【宁】【耶】【不】【由】【得】【长】【松】【了】【一】【口】【气】,【点】【头】【同】【意】【撤】【离】。 【就】【这】【样】,【他】【们】【三】【人】【背】【着】【背】【包】,【提】【着】【获】【得】【的】【战】【利】【品】,【急】【匆】【匆】【地】【朝】【荒】【地】【外】【奔】【去】。 【而】【当】【他】【们】【奔】【到】【荒】【地】【边】【缘】【时】,【黄】【豆】【大】【的】【雨】【点】【已】【经】【噼】【里】【啪】【啦】【地】【打】【了】【下】【来】。 【他】【们】【三】【人】【一】【点】【也】【不】【敢】【停】【步】,【淋】【着】【雨】【飞】【也】【似】【地】【就】【躲】【回】【了】【荒】【地】【边】【缘】【那】【老】【夫】【妇】【的】【平】【房】

  【明】【月】【满】【脸】【惊】【慌】:“【你】……【果】【然】【是】【你】【抓】【了】【我】【爹】!【你】【把】【我】【爹】【怎】【么】【样】【了】?” “【诶】,【我】【哪】【有】【抓】【过】【南】【宫】【伯】【伯】,【那】【个】【时】【候】【我】【可】【是】【还】【在】【家】【族】【里】【面】【疗】【伤】【呢】,【南】【宫】【世】【家】【的】【所】【有】【人】【都】【可】【以】【为】【我】【作】【证】。【你】【们】【除】【了】【这】【封】【信】,【还】【有】【什】【么】【证】【据】【吗】?” “【你】……” 【明】【月】【灵】【光】【一】【闪】:“【是】【你】【找】【人】【抓】【了】【我】【爹】【爹】!” 【青】【云】【哈】【哈】【大】【笑】:“【熟】【归】【熟】,

  【发】【现】【女】【儿】【不】【见】【之】【后】,【闫】【月】【菡】【的】【父】【母】【非】【常】【紧】【张】,【找】【遍】【了】【女】【儿】【有】【可】【能】【去】【的】【地】【方】,【但】【还】【是】【没】【有】【找】【到】【女】【儿】【的】【下】【落】。 【到】【了】【这】【一】【步】,【闫】【月】【菡】【的】【父】【母】【彻】【底】【慌】【了】【神】,【连】【忙】【向】【辖】【区】***【报】【案】。 ***【的】【同】【志】【接】【警】【之】【后】【极】【其】【重】【视】,【一】【边】【联】【系】【指】【挥】【中】【心】【广】【泛】【散】【布】【寻】【人】【消】【息】,【一】【边】【以】【永】【和】【社】【区】【为】【中】【心】,【划】【定】【两】【公】【里】【的】【寻】【找】【范】【围】,【沿】【着】【各】【条】

  【沂】【蒙】【就】【要】【通】【高】【铁】【了】! 【整】【个】【沂】【蒙】【都】【在】【讨】【论】【这】【件】【事】【情】,【沂】【蒙】【人】【奔】【走】【相】【告】,【兴】【奋】【与】【激】【动】【着】,“【等】【通】【了】【高】【铁】【出】【门】【就】【更】【方】【便】【了】!” “【我】【一】【定】【要】【做】【首】【班】【高】【铁】【出】【行】!” “【瞧】【你】【们】,【以】【后】【天】【天】【都】【有】【高】【铁】【坐】,【还】【愁】【坐】【不】【上】?【哈】【哈】【哈】!” 【早】【在】【几】【年】【前】,【地】【铁】【局】【李】【局】【长】【在】【接】【受】【了】【让】【鲁】【南】【高】【铁】【建】【设】【项】【目】【尽】【快】【落】【地】【的】【任】【务】【后】,【为】【不】【负】今日香港跑狗玄机图“【上】【车】!【上】【车】!【快】【上】【车】!”【警】【察】【将】【一】【个】【个】【的】【妇】【女】、【儿】【童】,【送】【上】【了】【卡】【车】,【儿】【童】【很】【少】,【大】【部】【分】【都】【是】【妇】【女】。 【艾】【什】,【托】【瑞】【贝】【卡】【的】【关】【系】,【得】【以】【一】【起】【上】【了】【一】【辆】【卡】【车】。 【其】【他】【的】【青】【壮】【男】【子】,【甚】【至】【也】【有】【女】【人】,【他】【们】【手】【里】【拿】【着】**、【防】【爆】【盾】【牌】【这】【种】【近】【战】【武】【器】,【也】【都】【做】【好】【了】【准】【备】。 【不】【要】【小】【看】【这】【种】【装】【备】,【这】【可】【是】【专】【门】【对】【付】【暴】【徒】【的】【止】【暴】【制】

  【季】【苗】【一】【个】【枕】【头】【就】【砸】【在】【了】【季】【昇】【的】【身】【上】,【说】【道】:“【你】【还】【是】【不】【是】【我】【哥】【了】?【怎】【么】【能】【这】【么】【说】【我】【呢】?” 【季】【昇】【耸】【了】【耸】【肩】:“【我】【觉】【得】【你】【把】【自】【己】【伪】【装】【的】【也】【太】【好】【了】【吧】!” “【难】【道】【你】【觉】【得】【我】【不】【干】【净】?” 【季】【昇】【轻】【笑】:“【不】【是】【说】【你】【不】【干】【净】,【只】【是】,【齐】【思】【磊】【把】【你】【看】【得】【太】……【高】【了】。” 【季】【苗】【这】【丫】【头】,【从】【小】【到】【大】【除】【了】【受】【过】【一】【次】【情】【伤】,【还】【真】【的】

  【翌】【日】。 【腊】【月】【廿】【四】,【小】【年】【迎】【春】。 【腊】【日】【才】【过】【又】【小】【年】,【煌】【煌】【银】【烛】【照】【良】【宵】,【全】【新】【的】【朔】【方】,【也】【迎】【来】【了】【一】【年】【一】【度】【的】【小】【年】【时】【节】。 【席】【云】【飞】【一】【大】【早】【就】【从】【朔】【方】【西】【城】【赶】【回】【了】【朔】【方】【东】【城】,【今】【日】【除】【了】【要】【祭】【天】,【还】【要】【祭】【灶】【王】【爷】。 【小】【年】,【并】【非】【专】【指】【一】【个】【日】【子】,【由】【于】【各】【地】【风】【俗】,【被】【称】【为】“【小】【年】”【的】【日】【子】【也】【不】【尽】【相】【同】。 【小】【年】【期】【间】【主】【要】【的】【民】

  【婚】【礼】【结】【束】【之】【后】,【叶】【七】【希】【和】【南】【沈】【要】【做】【什】【么】【这】【就】【不】【用】【多】【说】【了】,【而】【结】【束】【之】【后】【其】【他】【的】【人】【回】【家】【的】【途】【中】,【伴】【娘】【伴】【郎】【一】【对】【一】【对】【的】。 【捧】【花】【当】【然】【是】【段】【安】【安】【接】【到】【的】【了】,【她】【很】【希】【望】【收】【到】【祝】【福】,【收】【到】【来】【自】【叶】【七】【希】【的】【祝】【福】,【大】【家】【也】【没】【有】【跟】【她】【抢】,【因】【为】【都】【知】【道】【段】【安】【安】【还】【挺】【恨】【嫁】【的】【蛮】【想】【嫁】【出】【去】【的】,【那】【就】【自】【然】【把】【这】【个】【捧】【花】【让】【给】【她】【了】,【反】【正】【顾】【南】【已】【经】【结】【婚】【了】

  【到】【了】【结】【账】【的】【时】【候】,【豆】【十】【六】【抱】【了】【一】【大】【堆】【东】【西】【上】【去】,【而】【落】【青】【春】【早】【就】【悄】【悄】【的】【出】【去】【了】,【免】【得】【一】【会】【引】【起】【了】【混】【乱】。 【喜】【欢】【摄】【影】【师】【小】【哥】【跟】【着】【豆】【十】【六】【的】,【几】【乎】【所】【有】【的】【东】【西】【都】【是】【摄】【影】【小】【哥】【拿】【的】。 【落】【青】【春】【在】【车】【库】【老】【老】【实】【实】【的】【等】【着】【豆】【十】【六】,【见】【他】【们】【上】【来】【了】,【然】【后】【就】【开】【了】【后】【备】【箱】【摄】【影】【喜】【小】【哥】【将】【东】【西】【全】【部】【放】【了】【上】【去】。 【落】【青】【春】【对】【着】【他】【说】【了】【句】【甜】



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