• Tutt said she was left ‘crushed’ after incident in 2020 on one of the first times she venture out presenting as a woman
• The former WWE star is open about her transition from gladiator Tyler Reks to the woman she is today
•  She and her family moved from San Francisco to Austin, Texas in before the pandemic but said she has had largely positive experiences in the LGBTQ+ hostile state

Transgender WWE star Gabi Tutt has opened up about the moment she broke down in tears after a store clerk misgendered her.

The wrestler turned influencer explained how she was left feeling ‘crushed’ after the incident with a salesperson in 2020.

It took place on one of the first times Tutt, 45, decided to venture out dressed as as a woman and two months before she officially came out.

‘I bee-lined for my truck and cried for half an hour,’ Tutt told the San Francisco Chronicle. ‘I didn’t present (as) female for over a week — it crushed me.’ 

Tutt, who competed in the WWE as dreadlocked gladiator Tyler Reks, frequently shares images charting her transition.

Trans influencer Gabbi Tutt, who used to compete in WWE as Tyler Reks, shared she cried after a store clerk misgendered her The upsetting incident took place in 2020, before Tutt had officially come out and on one of the first occasions she presented as female In January that same year, she moved from from San Francisco to Austin, Texas , one of the least welcoming states for LGBTQ + people

In January 2020, she and her wife Priscilla along with their daughter Mia moved from San Francisco to Austin, Texas, one of the least welcoming states for LGBTQ+ people.

Tutt revealed that she learned to use a gun shortly after moving to the state, receiving lessons from an Army member neighbor.

And in 2021, she decided to attend a New Years Eve party ‘in full presentation’ after being invited by the same neighbor.

‘I walked in the door and got a standing ovation,’ Tutt said. 

While she acknowledged that her adoptive state has a bad reputation for trans rights, Tutt revealed that her experiences have markedly improved since the mall incident despite some online abuse.

The former wrestler also said her ability to get gender affirming procedures saved her life.

‘I would wake up every day feeling miserable, feeling like my life was incomplete,’ Tutt said. ‘And my heart breaks for every transgender human who is going through that.’ 

Tutt told how even as a child she would dress up in her mother’s clothes and gravitate towards girls toys.

Tutt’s wife Priscilla supported her transition, although the two are now in the process of separating The influencer shared how she learned to handle a gun after moving to Texas The 45-year-old was positive about her experiences in Texas, although recognized her wealth and privilege have allowed her to receive gender affirming procedures which have helped with the transition

But she buried her impulses after realizing they could get her in trouble. During puberty, she got into weightlifting and was scouted as a possible WWE star.

Tutt, performing as Reks, went on to have a career which spanned from 2008 to 2012, boasting appearances at Smackdown, Raw and Wrestlemania.

However, during the pandemic she was able to reflect on her gender identity and went on to transition.

‘I ask myself to this day, what made those feelings resurface at 36 years old,’ Tutt said. ‘And I haven’t been able to figure it out.’ 

Today, Tutt although in the process of splitting from her wife, runs a successful fitness business largely training women.

Priscilla has been supportive of Tutt’s transition and encouraged her to come out, while she remains close with Mia.

‘People will say, ‘You’re getting divorced, Gabbi,’ and yeah, the fairy-tale ending doesn’t always happen,’ Tutt said. ‘But I’m a successful businesswoman and I have a child who is well loved, and I am a trans woman.’ 

Tutt frequently shares insights into her transition, and hopes to be an example for other trans women.

Tutt frequently shares her journey as well as her fitness and lifestyle tips with her fans She told how she buried her feminine impulses as a child, only for them to bubble up again during the pandemic, prompting her transition Today the former wrestler has an active community of supporters and runs a successful fitness business Tutt is open about her journey, sharing everything from videos of her recovery from facial feminization surgery and the effects of hormone therapy and midlife puberty.

She now has 124,000 followers on Instagram, and shares her journey as well as her fitness and lifestyle tips with her fans. 

She has discussed everything from videos of her recovery from facial feminization surgery and the effects of hormone therapy and midlife puberty.

‘I understand what it feels like to walk out in public with no confidence, to fear what people might say or do or how they might look at you,’ Tutt said. ‘The solution is learning to love who you are on the inside. And we first must accept who we are.’ 

However, not all aspects of her transition have been smooth. 

During the summer, Tutt revealed that she was missing WWE more than she anticipated and expressed disappointment that she was ‘blocked’ from going backstage at Smackdown at Madison Square Garden.

A representative for WWE told NYTimes that the issue was caused by a ‘shortage of tickets,’ but an exception still wouldn’t be made to go backstage.

The post Transgender WWE star Gabbi Tutt, 45, reveals the second she broke down in tears when retailer clerk misgendered her and the way she discovered to make use of a handgun after transferring from San Francisco to anti-LGBTQ Texas appeared first on DAILY SAN FRANCISCO BAY NEWS.

Bay Area architect Henry Higby Gutterson’s houses have always been unorthodox—but not in the way you might think. While the early-20th-century architect’s more famous contemporaries—Julia Morgan, Bernard Maybeck, John Hudson Thomas—were creating homes that had rustic, woody features with sleek lines and a machine aesthetic, Gutterson was looking to English Tudors, Irish cottages, French Beaux Arts, and Swiss chalet for inspiration. Rather than mimic his Californian comrade’s work, or create pastiches of these European styles, he combined the two into something else entirely. The houses weren’t particularly radical, but were well-proportioned and livable, befitting to residents and the surrounding landscape, the kind of architecture that might only be appreciated with the passage of time—and the right eyes.

So when an art collector living in Singapore set foot in a 1936 Gutterson house overlooking the San Francisco Bay with his new wife, the seaside abode’s mahogany ceiling beams, French Tudor–style detailing, and California-modern materiality completely captured their hearts. The couple purchased the house as a summer getaway for their family of five in 2018.

Laure Joliet

While the house’s charm had withstood the test of time, some significant reconfigurations were required to bring it up to snuff in the 21st century. The dining room was raised on a platform, which necessitated people bending down to see the view below. Upstairs, the primary bedroom suite and attic layout could be better optimized with a bigger closet area and more usable nooks. A more worrying discovery: Down in the basement, a newly discovered natural spring that runs through the property had wreaked havoc on the walls and flooring.

The couple enlisted architect Ani Wade, principal at the Northern California firm Wade Design Architects, and local interior designer Lauren Geremia to transform the space. At their first walk-through with the clients, “I walked in, looked up, and my jaw dropped,” Wade recalls. “The ceiling of that space felt like the hull of a boat that’s been put upside down, with this warm wood, and sprawling beams and boards and trusses. It’s as if you’re about to be pulled away to the water any moment.” (No surprise, Gutterson was an avid sailor.) It was obvious to both parties that the ceiling would remain intact. But ultimately, little else did.

“The ceiling of that space felt like the hull of a boat that’s been put upside down.”

Wade’s team got to work. They unified the dining area and the living room, they lowered the dining area to connect better to the view, and they installed a new steel stairway that would unite the second-level primary suite with the attic. The most important order of business, though, was to make the home connect better to the views and the surrounding landscape. In other words? More windows. “This home has 180-degree views, with the Golden Gate Bridge on your left, Mount Tamalpais on your right, and Sausalito straight across,” Wade explains. “Tragically, much of that went unseen behind walls.”

Original to the house were four diamond-shaped lead windows from the 1940s that had been through a few earthquakes and were warped. Wade and her team opted to replace them in order to retain Gutterson’s original French château charm. Additional windows were added to nearly every room, including three large modern steel windows that open up from the sides for access to the porch overlooking the bay. “It felt like a total unveiling of this can’t-be-missed view at every turn,” Wade muses.

Meanwhile as the coastal residence was transforming from a construction site to a livable dwelling, Geremia was hard at work, well, watching movies. “It was 2020 and amid the height of the Covid pandemic, and I had this projector set up in my house, and we were watching a lot of films,” she explains. But she wasn’t just mixing work and pleasure for the sake of it. In fact, film sets inspire many of Geremia’s designs. “I don’t even listen to the words,” she explains. “I’m only paying attention to the visuals.”

See Inside this Lakeside Retreat

Open Gallery

After stumbling upon Call Me by Your Name, Luca Guadagnino’s 2017 coming-of-age romantic drama starring Timothée Chalamet and a cliffside mansion on the Italian Riviera, Geremia’s vision for this house came into focus. “The summer mansion in this movie is visceral and memorable, and I fell in love with all the yellows and greens,” she explained.

Geremia knew exactly what she would do in this Bay Area house. In her studio, she mixed gouache (a water-medium paint that has a very mineral-like quality) to get the right palette. The result? Every room in the house has a permutation of green and yellow, each a reinvention of how the colors can be combined. In the kitchen, a mint green-upholstered banquette is set against desaturated lime-colored walls. An attic dormer window is bordered by a pale green trim and a vintage hand-knotted Tibetan tiger rug from 1stDibs. Green-and-yellow de Gournay wallpaper lines the powder room against marble furnishings.

Beyond the color scheme, Geremia was given a lot of liberty to experiment, this being the family’s secondary residence. “I brought in so many items that had idiosyncratic stories behind them,” she says. “They kept saying yes.” This included a wooden bathtub sourced from a Scottish artisan and platform beds in the basement bedroom for the kids.

Laure Joliet

A San Francisco resident, Geremia sees the water just beyond as part of her design in a very real way. “There’s a feeling that I’m not sure is conveyed in any of the photos,” she explains. “It’s the way the house moves throughout the day, catching the sparkling reflection of the water that bounces across each room of the house. It’s pure magic.” Geremia played with that. In the loft, she commissioned a stained-glass artist to create a strip of mirror that now sits around the window frame, catching the reflection of the moving water. In the living room, opaque objects sit on the cocktail table, reflecting back the dance of light from the water outside the windows.

Gutterson’s houses, like the architect himself who was not prone to self-promotion, are spaces of quiet brilliance. “When one lives in a Gutterson house, one grows to love the house deeply,” Dee Williams-Ridley wrote in a request to the city for landmark designation in another one of Gutterson’s houses. That won’t be hard for this romantic seaside escape.

Assistant Digital Editor

Rachel Silva, the Assistant Digital Editor at ELLE DECOR, covers design, architecture, trends, and anything to do with haute couture. She has previously written for Time, The Wall Street Journal, and Citywire.

The post A Uncared for Bay Space Dwelling Lastly Will get Its Second within the Solar appeared first on DAILY SAN FRANCISCO BAY NEWS.

Christine Dillman, executive director of Tri-Valley Haven, at the non-profit’s community building in Livermore, Calif., on Sept. 19, 2023. The nonprofit provides domestic violence, homelessness and sexual assault services. (Dai Sugano/Bay Area News Group)

LIVERMORE — For Christine Dillman, executive director of Tri-Valley Haven, there’s nothing worse than telling someone who is trying to escape an abusive partner that the nonprofit’s shelter is full.

During the coronavirus pandemic — which reduced capacity — and amid the survivor-led #MeToo movement, Dillman said the organization’s shelter for those fleeing domestic violence has often been full.

“It’s so hard when somebody is calling — they’re a family in Pleasanton, and they’re fleeing and we have no space,” Dillman said in an interview. “Of course, we do everything we can. We work with other shelters, but that family doesn’t necessarily want to go to San Jose or Oakland or somewhere out of the area.”

Now, Tri-Valley Haven, which is based in Livermore, is moving toward what Dillman described as a “defining moment” for domestic violence survivors in the East Bay. It plans by early next year to break ground on a $7.5 million rebuild of its shelter, named Shiloh. The Dublin City Council this month agreed to provide $240,000 to the project from a pool of Community Development Block Grant money.

The project will expand the shelter’s capacity by 50%, from 30 to 45 beds. It will also replace two decades-old buildings that Dillman said are falling apart. About a year ago, the organization was forced to close one of the shelter buildings because of mold. The other building has roof and plumbing problems.

“The current domestic violence shelter does not represent how I want to care for people,” Dillman said. “And that breaks my heart.”

Tri-Valley Haven in Livermore plans to break ground on a project that will expand the nonprofit’s domestic violence shelter capacity from 30 beds to 45. (Courtesy of Tri-Valley Haven) 

Domestic violence is one of the primary causes of homelessness. According to data in Alameda County’s 2022 homelessness Point-In-Time Count, 27% percent of those in families with children cited domestic violence as a cause of their homelessness.

Tri-Valley Haven — which also provides services for those experiencing homelessness and hunger, and those who are victims of sexual assault — has launched a capital campaign to raise money for the project. So far, it’s raised about $5.5 million — or about 75% of the project’s estimated cost — through a combination of public and private contributions. The cities of Livermore, Dublin and Pleasanton, and the county of Alameda are contributing a combined total of around $3 million, Dillman said.

Typically, the nonprofit serves about 250 people per year at its shelter, she said. And while the shelter houses people from all over Alameda County — and southern Contra Costa County — more than 50% are from the Tri-Valley.

“Maybe they grew up in this area or they’ve lived here for the past 10 years or they work in this area; but they have strong connections to the Tri-Valley, and that’s why they want to be here,” Dillman said.

The new facility will introduce major improvements, including individual sleeping rooms, a computer lab, a Japanese rock garden and dedicated playground areas for children, she said.

With the services of landscape architecture firm vanderToolen Associates, they’re also building in “a lot of greenery and just have it be a calm space where families can take a minute and play with their children,” Dillman said. She added, “This is a building that really can take us successfully 50 years into the future.”

Data on domestic violence paint a grim portrait of the problems in Alameda County. The Domestic Violence Unit of the Alameda County District Attorney’s Office annually reviews about 5,000 arrests, but often finds it difficult to prosecute. In some cases, survivors may be reluctant to testify at trial, or they may recant statements provided to police.

Safe Alternatives to Violent Environments, or SAVE, which provides shelter and crisis services for victims of domestic abuse in Fremont, also is often at capacity, said Jennifer Dow Rowell, the nonprofit’s executive director.

Tri-Valley Haven’s aging domestic violence shelter is set to be replaced by a modern building that will include a computer lab and other upgraded amenities. (Courtesy of Tri-Valley Haven) 

Tri-Valley Haven’s expansion project, Dow Rowell said, is “so needed” as it provides a critical part of the community’s safety net.

The organization’s rebuilt shelter is expected to be completed by the summer of 2025, Dillman said. Temporary housing services for survivors of domestic violence will continue during construction, she said.

And while the nonprofit hasn’t yet reached its funding goal, it’s confident it will hit its target.

“We’ll reach it. We will,” Dillman said. “We have a number of foundations that have said they will step in, and I know that they will.”

If you or someone you know is a victim of domestic abuse, you can find support by calling the National Domestic Violence Hotline at 800-799-7233. In the Bay Area, you can call 211 for referrals to shelters and other services.

The post Home violence shelter enlargement is a ‘defining second’ for the East Bay appeared first on DAILY SAN FRANCISCO BAY NEWS.

Art

Artsy Editorial

Each fall, as the art fair season resurges and galleries open ambitious new shows, a fresh cohort of burgeoning talent captures the art world’s attention. This season is no different, as many artists that have recently joined gallery rosters present debut solo shows, and many others mount new bodies of work to go on view at international fairs, including The Armory Show, Frieze Seoul, and Frieze London.

Here, we share 11 such artists who we’ll be watching this fall.

B. 1988, Daejeon, South Korea. Lives and works in Seoul.

Portrait of Woo Hannah by Lee Seungheon. Courtesy of Frieze.

Following her solo presentation at Frieze’s No.9 Cork Street space in London this spring, the Korean fiber artist Woo Hannah is set to have another major Frieze moment. She is the recipient of Frieze Seoul’s inaugural Artist Award and will present her winning commission, The Great Ballroom (2023), at the September fair, where she will also be featured in a solo booth with G Gallery.

The Great Ballroom continues “Milk and Honey,” Woo’s ongoing series featuring ornately draped swaths of fabric suspended from the ceiling. Like much of Woo’s work, this installation evokes the body with an intriguing combination of reverence and playfulness: The contours of the fabric suggest breasts, while brightly colored soft-sculpture baubles evoke dribbles of milk. Drawing inspiration from Rococo paintings by Jean-Honoré Fragonard and the like, Woo employs luxe, satiny material and decorative shirring that calls attention to its own beauty. In this work, Woo, preoccupied with ideas of aging and bodily transformation, invites viewers to question why the ridged layers of shirred fabric are widely seen as beautiful, while wrinkled skin is not.

Woo Hannah, Milk and Honey 5, 2023. Photo by Lee Seungheon. Courtesy of the artist.

Since completing her MFA at Korea National University of Arts in 2016, Woo has exhibited primarily in Seoul, including solo outings at G Gallery and Art Space BOAN earlier this year. In the spotlight at Frieze, she will be exposed to a wider international audience.

—Olivia Horn

B. 1992, Toronto. Lives and works in New York and Elgin, Canada.

Portrait of Keiran Brennan Hinton by Colin Outridge. Courtesy of Charles Moffett.

Keiran Brennan Hinton is firmly on the radar this fall. The Canadian artist presents a solo exhibition, “A Break in the Clouds” (September 8th–October 21st), at New York’s Charles Moffett, his first since the gallery started representing him last year. The artist’s dazzling paintings, produced en plein air, are becoming increasingly known to the international art world—his sold-out solo booth with Charles Moffett was a highlight of Felix Art Fair in Los Angeles in February; and he had 2022 solo shows at Tokyo’s Maki Gallery and Montreal’s Galerie Nicolas Robert. Plus, a large new painting of a sun-dappled living room was a focal point of Charles Moffett’s NADA New York booth this past May.

Brennan Hinton’s practice might be described as mining the beauty from the mundane. A true plein air painter, he is known to travel with paints in tow, at the ready to capture a lush patch of forest, a moonlit lake, or an unremarkable bedside table—and all with equal intensity. Across these slices of everyday life that Brennan Hinton preserves, there’s a distinctive flair for capturing light and, seemingly, slowing down time. Within these works we can see glimpses of (or perhaps tributes to) the forebears that inspire his practice, including Pierre Bonnard, Ann Craven, Lois Dodd, and David Hockney, among others.

Keiran Brennan Hinton, “A Break in the Clouds”

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This new show comes on the heels of Brennan Hinton’s participation in the Beecher Residency—the esteemed artist residency program established by collectors John Auerbach and Ed Tang that is known to nurture rising talent.

—Casey Lesser

B. 1941, London. Lives and works in Hastings, England.

Portrait of Laetitia Yhap by Sasha Gomeniuk, 2023. Courtesy of Hales Gallery.

Since the 1970s, Laetitia Yhap has painted scenes of the local fishing community in Hastings, on the southeast coast of England. Having moved to the coastal town from London in the 1960s, Yhap found inspiration in the industry of her new home, particularly in the way it has shifted over the course of her practice from traditional fishing tools, such as wooden boats, to modern alternatives, such as steel. Her canvases, which often take unconventional shapes suggestive of furniture paneling, depict unvarnished scenes of everyday industry in intimate, thoughtful depictions of the men and boys for whom the area is a hub of work and socializing.

Laetitia Yhap, “Keeping Company”

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Throughout her long career, Yhap’s work has been exhibited at U.K. institutions including the Serpentine, Hayward Gallery, and Whitechapel Gallery, and is also in the collection of the Tate, among others. Yet this fall marks a new direction for the 82-year-old artist, who recently announced representation with Hales Gallery in London, where her first solo exhibition at the gallery, “Keeping Company,” opens on September 2nd. This debut exhibition at the gallery will focus on hand-crafted panel paintings from the 1980s and ’90s, such as the painting that titles the show, an almost fresco-style large-scale narrative scene. It’s a scene of amicable quiet, with several men gathered around a fishing boat against a white-clouded sky—either engaged in work, or just idle thought. Yhap’s work will also be featured in Hales’s booth at Frieze London later this year.

—Josie Thaddeus-Johns

B. 1983, Araraquara, Brazil. Lives and works in São Paulo.

Portrait of Marina Rheingantz by Denise Andrade, 2022. Courtesy of White Cube.

Marina Rheingantz is set to mark her solo show debut in the U.K. with a prime slot at White Cube in Mason’s Yard during the course of London’s Frieze Week. “Maré,” which runs from October 10th through November 11th, caps a remarkable rise for the Brazilian artist, who was signed to the mega-gallery’s roster in August.

Rheingantz works with a variety of media, including paintings and tapestries, to evoke ambiguous, semi-abstract images of sea cliffs, bodies of water, mountain regions, and arid wastelands. Her paintings are often inspired by her childhood memories of growing up in rural Brazil, where she would often travel across the country and study the landscape. Dense with paint and often expansive in scale, these works are characterized by their rich surface texture and dissolution of image, reminiscent of Cy Twombly’s distinctive markmaking. In another series of smaller-scale tapestries, shown as part of “Sedimentar” at Fortes d’Aloia & Gabriel last year, she turns those brushstrokes into rhythmic stitches, scattered across an embroidered canvas.

Rheingantz studied fine arts at Fundação Armando Alvares Penteado in São Paulo. Her work has been exhibited in solo and group exhibitions at galleries and museums around the world, including the Museu Serralves in Porto, Portugal; the Taguchi Art Collection in Tokyo; the Pinacoteca de São Paulo; and the MAM Rio in Rio de Janeiro. In 2021, the artist had solo shows with Bortolami, FRAC Auvergne, and Zeno X Gallery. Recent collector demand for the artist’s work had reached new heights with the auction of Paisagem que Anda (2013), which sold for $107,950 at Sotheby’s in March.

—Arun Kakar

B. 1985 in Lomé, Togo. Lives and works in Philadelphia and Abuja, Nigeria.

Portrait of Modupeola Fadugba by Olivia Marwell. Courtesy of kó.

Modupeola Fadugba, Ballet Swimmers, 2022. Courtesy of the artist and kó.

Combining social practice with painting and drawing, Modupeola Fadugba’s arresting work wades into the complex cultural history of the swimming pool, plumbing its symbolism through the lens of different generations and geographies. The Togo-born artist has collaborated with the Harlem Honeys and Bears (a synchronized swim team for older adults), as well as younger swimmers in Nigeria, to create elegant renderings of bodies in water using acrylic, graphite, gold leaf, and burning techniques. The individual identities of her swimmers are often obscured, underscoring ideas of collectivity and cooperation.

Fadugba will exhibit a selection of these works in a solo presentation with Lagos’s kó at The Armory Show this month—a new highlight in her ongoing study of the pool. The subject has fueled her practice for many years: It took center stage in solo shows at Ed Cross Fine Art in London (2017) and Gallery 1957 in Accra (2018). More recently, Fadugba exhibited work from the “Synchronized Swimmers” series at this year’s Dallas Art Fair.

—O.H.

B. 1994, New York. Lives and works in New York.

Portrait of mosie romney by Mary Manning, 2023. Courtesy of P.P.O.W.

mosie romney, Arrival, 2023. Courtesy of the artist and P.P.O.W.

This fall will bring mosie romney’s first solo show with P.P.O.W, which announced representation of the artist in May of this year. Known for painting complex imaginary spaces that hover between figuration and abstraction, romney creates an immersive dialogue between reality and fantasy that challenges conventional understandings of time, memory, and self-perception. Utilizing their background in set design and puppetry to produce a unique painting style, romney masterfully orchestrates visual realms that invite viewers to rethink their emotional and cognitive boundaries.

In their upcoming solo show, titled “Rhizome St. / Fugue Avenue,” the artist delves deeper into their imaginative storytelling, referencing maps and interiors, particularly of opera houses, as well as symbols from cartoons, myths, and culture. This assembly of figures is set within landscapes that navigate the psychological terrains of alienation and transformation. With works already in the permanent collections of prestigious institutions like the Institute of Contemporary Art, Miami, and the Studio Museum in Harlem, romney is likely to see their reputation as a compelling voice in contemporary art grow this fall.

—J.T.J.

B. 1996, Surrey, United Kingdom. Lives and works in London.

Portrait of Pam Evelyn by Robert Glowacki, 2023. © Pam Evelyn. Courtesy of Pace Gallery.

Pam Evelyn, Fertility, 2022. © Pam Evelyn. Photo by Damian Griffiths. Courtesy of the artist and Pace Gallery.

Pam Evelyn is one of the driving forces behind the art world’s current focus on women artists working in abstraction. Since finishing the MA in painting program at London’s Royal College of Art in 2020, the young artist has experienced a swift ascent, capped off recently with the announcement of her representation with Pace and debut solo show with the gallery in London this September. Titled “A Handful of Dust” and on view from September 6th through 30th, the show will span two floors and promises an in-depth view of the artist’s compelling practice.

Evelyn’s painting method is intense. Over the course of several months, she takes a very physical approach to large canvases, deploying multiple rounds of painting, scraping, and painting again, working and reworking the medium until final, expressive marks seem to vibrate off the surface. Some works incorporate collage, with strips of canvas adding to the rich textures.

Pam Evelyn, Hidden Scene, 2022. © Pam Evelyn. Photo by Damian Griffiths. Courtesy of the artist and Pace Gallery.

The past few years have been eventful for Evelyn, as her works have been featured in solo shows at tastemaking galleries across Europe and the U.K., including MASSIMODECARLO (which works with her in Italy), The Approach, and Peres Projects.

Earlier this year, she was commissioned to create new etchings by Whitechapel Gallery on the occasion of the major exhibition “Action, Gesture, Paint: Women Artists and Global Abstraction 1940–1970.” Additionally, in 2023 thus far, her works have been included in two notable group surveys: “The Reason for Painting” at the Warwick Arts Centre, and “New British Abstraction” at the Center of International Contemporary Art in Vancouver, Canada.

—C.L.

B. 1995, Prince George’s County, Maryland. Lives and works in Baltimore.

Portrait of Sydney Vernon by Daniel Diasgranados, 2022. Courtesy of Kapp Kapp.

This fall, Baltimore–based artist Sydney Vernon will be presenting her first solo show at Kapp Kapp since joining the tastemaking gallery’s roster in January. The exhibition—her second solo show in New York—will showcase a fresh compilation of works on paper, marking Vernon’s first significant body of work since 2020.

With her nuanced use of pastel, colored pencil, and ink, Vernon takes viewers on an exploration of self and narrative that is deeply rooted in personal and generational histories. Vernon often begins her creative process with vintage family portraits or everyday moments captured in old photographs. She then expands from these initial images to integrate silhouettes from cultural and historical events, weaving together the personal and the universal into a singular tapestry of experience. Much like 1970s New York feminist artist Lorraine O’Grady—one of her inspirations—Vernon employs the diptych format to explore the dualities of truth and history to reflect her own unique viewpoint.

Sydney Vernon, Kitchen Table, 2023. Courtesy of the artist and Kapp Kapp.

For example, in Kitchen Table (2023), an ink and pastel from the upcoming Kapp Kapp show, Vernon captures a sense of intimate yet diffuse memory, with one of three central figures rendered in fine detail, leaving the other two more anonymous and their faces hard to pinpoint.

In New York, Vernon has previously been included in prominent group shows like “Black Femme: Sovereign of WAP and the Virtual Realm” at Canada Gallery in 2021, as well as a solo show at Thierry Goldberg Gallery in 2020. This year has seen Vernon gaining an impressive momentum: Her work was recently included in a group show at Sargent’s Daughters in L.A.—the first in its new space.

—J.T.J.

B. 1973, Shizuoka, Japan. D. 2005, Tokyo.

Portrait of Tetsuya Ishida, c. 1995. © Tetsuya Ishida Estate. Courtesy of the artist and Gagosian.

Tetsuya Ishida, Gripe, 1996. © Tetsuya Ishida Estate. Photo by Martin Wong. Courtesy of Gagosian.

With solo exhibitions spanning from the Asian Art Museum in San Francisco to the Museo Nacional Centro de Arte Reina Sofía in Madrid, and inclusion in prestigious events like the Gwangju Biennale and Venice Biennale, Tetsuya Ishida has gained considerable recognition since his death in 2005. His rising status was cemented by Gagosian’s recent announcement of its representation of the artist’s estate. Previously, the mega-gallery’s 2013 exhibition of Ishida’s work in Hong Kong broke new ground for the artist, drawing international attention to his oeuvre for the first time.

This fall will see the opening of a new solo show at the gallery’s New York space. “Tetsuya Ishida: My Anxious Self,” curated by Cecilia Alemani, will be the most extensive exhibition of Ishida’s work staged outside Japan. It coincides with what would have been the artist’s 50th birthday, adding an extra layer of significance to the show.

Tetsuya Ishida, Supermarket, 1996. © Tetsuya Ishida Estate. Photo by Martin Wong. Courtesy of Gagosian.

Ishida, whose career was tragically cut short, captured the nihilism and desolation emblematic of Japan’s “Lost Decade” in the 1990s. His surrealistic works, often featuring self-referential characters trapped in nightmarish, Kafkaesque scenes, dissect the dehumanizing impact of social and technological changes. These characters are often disturbing hybrids of humans, animals, and machines, serving as poignant allegories for a society in flux.

—J.T.J.

B.1988, Guangdong Province, China. Lives and works in Hong Kong.

Portrait of Trevor Yeung by South Ho. Courtesy of Gasworks.

Hong Kong–based artist Trevor Yeung is poised for a breakout moment with his first U.K. solo exhibition, “Soft ground,” which opens at Gasworks in London on September 28th and runs until December 17th. Venturing into the complex territory of social dynamics through botanic ecology, horticulture, and photography, Yeung’s installation works reshape how we understand power, control, and intimacy.

In the show, a scale soap cast replica of the infamous “fuck tree” of North London’s Hampstead Heath (which is worn smooth by frequent use) becomes a means to explore London’s gay cruising culture. Filling the gallery with an aromatic blend of earthy scents, Yeung’s sculptural installation will serve as an invitation to confront norms of desire, longing, and shame.

Trevor Yeung, research image for “Soft ground,” 2022–23. Courtesy of the artist.

Trevor Yeung, research image for “Soft ground,” 2022–23. Courtesy of the artist.

Having already made waves at major international events like the Singapore Biennale in 2022 (where he presented a site-specific installation of a greenhouse to house unwanted pandemic-purchased houseplants), Yeung’s rising status will be cemented further with his upcoming representation of Hong Kong at the 60th Venice Biennale in 2024. He was also recently shortlisted for The Sigg Prize 2023, which champions artists from the Greater China region.

—J.T.J.

B. 1993, London. Lives and works in London.

Alexander James, Vertigo, 2023. Courtesy of the artist.

This summer, Alexander James’s paintings were included in a group show of portraiture at Marlborough London alongside modern masters of the genre like Celia Paul, Lucian Freud, and Frank Auerbach. Now for fall, the gallery will feature the young artist’s work in a solo show entitled “Tuck Shop for the Wicked,” opening on September 23rd. The show will delve into his family history, expanding intimate memories using imagined scenarios across eight bright, gestural canvases.

The title of the show, for instance, references a sweet shop, like the one owned by the artist’s great-grandfather—a site of fascination for James, who only fully dedicated himself to painting during the pandemic. Compositionally, this new series of works is inspired by the artist’s early childhood visits to the British Museum, where he would admire the classical forms of busts, friezes, and entablature. These shapes create the basis for his vibrant canvases, which use sweeping, thick brushstrokes to conjure mixed-up, metamorphic forms.

As the artist’s star rises, with plenty of excitement from the London media and a growing Instagram following, he will see a second outing for his work in New York this autumn. A group show of abstract paintings, pairing him with artists like Rachel Garrard and Cleve Gray, will open at Room 57 Gallery in September.

—J.T.J.

Browse available works in the collection “Artists with Major Moments This Fall.”

Correction: A previous version of this article incorrectly stated that Sydney Vernon is based in New York. She is based in Baltimore.

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• The air conditioning technician shot the clip in Golden Valley, Minnesota
• The TikTok video went viral with over 5.5 million views and nearly 600,000 likes

This is the moment an HVAC technician filmed one of his customers as she “called 911” to claim he was threatening her and that she was “trembling” with fear.

Alonzo Harmon’s short clip of the Golden Valley, Minnesota incident went viral on TikTok with the caption, “Here’s an example of what life as a black man is like in America.”

The air conditioning worker filmed himself with the woman as she yelled “I’m so scared” in what appeared to be a call to police.

When the sobbing woman tries to claim that she is scared and intimidated by Harmon and in dire need of help, he asks calmly, “What threat did I make to you, ma’am?”

The video was filmed in November last year but was uploaded by Harmon this week, where it subsequently went viral with 5.5 million views and nearly 600,000 likes.

Harmon filmed the woman who appeared to be calling 911. “What threat did I make to you?” he asks

“She’s on the phone to 911 right now,” Harmon says calmly to the camera.

The woman is heard saying during the call, “He said I was being rude and he’s scaring me right now.”

But the stunned technician seems confused about her reaction: “She said I just threatened her. what threat?

“What threat did I make to you?” he asks.

The panicked woman does not answer the question.

In the next clip, the woman looks even more desperate when she asks the police to come faster.

She can be heard making crying noises over the phone as Harmon, standing several feet away in front of the garage, looks on helplessly.

“I’m scared right now. I’m shaking,” she says 911. “Please. Please. I’m so scared right now.’

Harmon suggests that the woman’s tears aren’t real.

“What on earth is that, boy? I won’t lie – I’ve never had to deal with such a bulls**t in my life. Never in my life.’

A concerned commenter responded to the viral video: “Are you alright? update please!!’

Another wrote: “It’s a shame you were treated like that man no reason for it. I hope You are fine.’

A third wrote: “Man this is not a joke this is scary how people can just do this and get the law involved. Please update us.’

Harmon hints that the woman’s tears aren’t realThe panicked woman doesn’t respond to Harmon’s questionHarmon filmed the interaction for TikTokThe TikTok video subsequently went viral

A police report detailed that two officers from the Golden Valley Police Department responded to the woman’s call but took no further action.

“Officials spoke to the gentleman who recorded the video and he left without any further investigation into the called incident. That’s all the information we have,” a spokesman for the police department said.

Harmon told Storyful that the woman in the clip started asking him “off-topic questions” about his job after he finished working on the air conditioner.

He said the woman tried to grab his phone as he left the property before then calling police.

“I told her if she calls the police I’ll wait for her at my van, then I started recording her when she called her,” Harmon told Storyful.

“The police finally came for a few minutes. They spoke to both of us and simply asked me to leave to de-escalate the situation.

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