Photo by Adrian Gaut for Playboy
NEW YORK, November 12, 2013 – One mention of Playboy and images of centerfolds and hedonism flood the brain. The foundation of the brand as the epicenter of solid authorship, art, and the “good” life has been shrouded in boobs, butts, and bunnies. It’s something that, albeit successful, has pointed the corporation’s trajectory in a direction that it doesn’t seek.
Through a series of creative initiatives, Playboy wants to reinsert itself as the place where, according to famed artist Richard Phillips, “the nexus between art, culture, literature, and eroticism all come to reconcile with one another.” Phillips and Playboy have joined forces to create pieces of art that stimulate the zeitgeist with their paradigmatic use of symbols that symbolize both hedonism and progressivism. Beginning with this past summer’s installation in Marfa, Texas, which will be deconstructed this month and reimagined for a 2014 exhibition in the Dallas Contemporary museum, Phillips’ two-part Playboy collaboration will come to fruition at this year’s Art Basel in Miami. But, what about these cars-turned-sculptures and a not-so-innocent bunny symbol signify a change in direction for the impish brand?
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