Issue No. 4


Our fourth cover comes in two iterations. The main cover features Lera Abova shot by Mariano Vivanco; the second is a limited edition cover featuring Olympia Campbell, shot by Mark Steinmetz.  

At a time when borders are being inked in ever more heavily, this edition of Supplement is dedicated to the artists, writers, performers, photographers and other creative individuals whose work recognises no such boundaries. Find out what happened when we sent English rose Olympia Campbell to shoot with Mark Steinmetz in Georgia, the Peach State. Learn how Simone Rocha, the Irish-born daughter of a first-generation Hong Kong immigrant became the British Fashion Council’s Designer of the Year. And find out why New York is the silent cast member in French auteur Lola Bessis’s debut film? 

The contemporary dancers turned choreographers Jirí and Otto Bubenícek were born in Poland to Czech circus performers and now trot the globe themselves; Joan Jonas combined Japanese theatre with Renaissance painting to become an internationally recognised figure within performance art; Cosey Fanni Tutti’s early, pre-Throbbing Gristle art stunts began as something of a scandal, yet now she’s been invited to revisit these works as Hull celebrates its status as City of Culture; Christopher Williams manages to marry the high-gloss production values of Hollywood with the high-brow critical thinking of northern Europe, creating some of the best photography – and some equally impressive captions; and Hot Chip’s Alexis Taylor buddies up with an international array of musicians to rework compositions from his 2016 solo album, Piano.

Elsewhere in this issue, photographer Andrew Vowles and stylist Raphael Hirsch have brought together the works of Robert Mapplethorpe and Raf Simons; Mariano Vivanco and Teddy Czopp have taken this season’s collections to the rough end of clown town; and Francesco Nazardo and Peghah Maleknejad have conjured up their own, quieter inner country of puff sleeves and heavy embroidery. 

There’s a world of difference here, yet every contribution points to the merits of leaving the safe harbours, to light out, explore, discover and connect.


Issue No. 3


Our cover star Klara Kristin was a philosophy student, only she’s dropped to work as an artist’s assistant. She’s living in Christiania, Copenhagen’s old, venerable hippy commune, yet she just did a shoot for Calvin Klein. She appeared in a 3D sex film, but it’s one directed by the acclaimed director Gaspar Noé. It is perhaps no surprise that our cover star, Klara Kristin, comes from a long line of artists.

Where do those free, autonomous zones of creativity lie today – the area that was the natural place for avant-garde? Is it the sort of place where Kristin operates? We believe so. It certainly was the sphere within which the mid-century Cuban-American artist Ana Mendieta was to be found, creating her sculptures, paintings and films, thick with burning earth, mud and feathers, until her life was cut short.

Thurston Moore found it in near-lawless lower Manhattan, where the late Alan Vega used to walk across bar tables, teetering on the very edge of insanity, to throw drinks in audience members’ faces; and rediscovered it again, in Europe’s free-improv scene.

You can pick up on it in Toyin Ibidapo’s distinctly tropical fur, fluff and knitwear shoot; in Nicole Maria Winkler’s deconstructed, dismantled, discombobulated, and yet, surprisingly, time-coded womenswear story; Ben Grieme’s bedroom-bound, lonesome, adolescent photographs; and Janneke van der Hagen’s flowing, classical, womanly pictures.

Indeed, exact coordinates aren’t wholly important, as Allen Ginsberg makes clear in this issue’s valedictory poem. You can find Walt Whitman and Federico García Lorca among the stacks of beans in any supermarket, so long as you hit it in the frame of mind and look hard enough. Wherever else you find it, we hope you find at least a little in the pages of Supplement.


Issue No. 2


In issue 2 we look back at the heavily sexual, utterly heartfelt work of the artist David Wojnarowicz; we proudly reproduce new, deeply lovely photographs by Bill Henson and we speak to the songwriter Julia Holter. Swans Founder member and singer Michael Gira describes his relationship with the visual arts; we take a look at the marine invertebrates Leopold Blaschka- a young Czech-born jeweller and glass-blower- brought to life in the mid 19th century; Andrew Mueller gets in among the birthers and truthers of paranoid American politics and Eliza Robertson discusses her path from vigilante would-be lawyer to award-winning short-story writer.

Elsewhere, Reto Schmid and Elizabeth Fraser-Bell pin down this season’s floral movement; Jan Lehner takes the model Hayett McCarthy for a twilight trip along the east coast of England; Clare Shilland and Michele Rafferty offer a late-80s shoe gazers’ take on this season’s Marni men’s collection; Benjamin Vnuk and Joanna Schlenzka fool around with the act of dressing and undressing, channelling the spirit of Mark Borthwick and Peter Lindbergh through all those layers and fastenings and the late, great Robert Mapplethorpe offers us the definitive statement when it comes to art and footwear fetishism.


Issue No. 1


Rashid Johnson works through the perils of African-American fatherhood with his heavily incised updates of Edvard Munch’s The Scream; Kenneth Goldsmith rebuilds 20th century New York from mountains of citations and discarded lines; Stacy Martin, having survived a lead role in Lars von Trier’s Nymphomaniac, plays the perfect fall girl in the new film adaptation of JG Ballard’s High-Rise. 

This issue also features work of Deborah Turbeville, David Bailey, Bruce Rogers and Katherine Bernhardt. Within the pages of Supplement suburban bodybuilders rub shoulders with primitive art, modern jewellery and the political quest for happiness. It’s a big world out there. We think there’s room in our lives to draw inspiration from all this, we hope to capture that excitement in this and forthcoming issues.