Josh Rubin
I'm a NYC-based interaction designer, editor and photographer.
I'm the founder and Editor in Chief of Cool Hunting, I'm the Creative Director at Largetail and I invented Freehands Gloves.
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- Pretzels, beer, spaetzel and schnitzel. Gluten tag!! (at Weissbräuhaus) — http://t.co/jsSO7IBx
- Audi Urban Future Initiative. Hash tag? #AudiAUFI (at AUDI Forum) — http://t.co/acF5p1qY
- I am a sucker for symmetry (at @connectgares) [pic] — http://t.co/97u1mJE1
- Making the final approach to CDG. #tailcam [pic] — http://t.co/0vcyEUYJ
- Finally getting on an A380. This thing is a beast!! (at John F. Kennedy International Airport (JFK)) — http://t.co/7LyqcHua
- Aaron Sorkin's poignant commencement speech is already up on the Syracuse website. http://t.co/D3KB1Sep
- "Decisions are made by those who show up. Don't ever forget that you're a citizen of this world." Aaron Sorkin to the Syracuse 2012 class
- "You're a group of incredibly well educated dumb people" Aaron Sorkin to the Syracuse class of 2012
- Gotta love a hot cockpit! http://t.co/pN7e3Gjl
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- Oma's ready for wheels up! (at Opa Locka Airport (OPF)) [pic] — http://t.co/XWuvDqnc
- Guess who? Raymond. Here in Bal Harbour, everybody loves him! Hrmph.
- A surprise bounty of local delicious from NY Mouth—thanks, @kanarick, @odesmobile! Xoxo [pic] — http://t.co/zTBpuK7U
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- May 16, 12Blast off with Tom Sachs' impressively detailed NASA-inspired mission
Most artists are obsessed—their fixation serving as a driving force for creative action—but Tom Sachs takes his to new heights with his interest in space exploration. His newly launched NYC exhibition, "Space Program: Mars", is a love letter to NASA in his signature bricolage style, and not one detail of the mission's extensive flight plan has been spared the Tom Sachs treatment. From a golf cart turned into a Mars Excursion Roving Vehicle (MERV) to the "interlocking system of systems" comprising the Landing Excursion Module (LEM), Sachs has created a charmingly kitschy and impressively thorough rendition of a mission to Mars.
Opening night visitors to Sachs' massive tongue-in-cheek Park Avenue Armory installation sipped on "Vader Piss" and "Astronaut Sunrise" cocktails as they made their way from an upgraded Mission Control (stocked with Stoli vodka and an "expanded musical selection") at the entrance to the Indoctrination Station on the opposite end of the 55,000-square-foot space.
Berms made from plywood—one of Sachs’ favorite materials—make up the terrain of the Mars Yard, where astronauts secure samples from Mars' surface in a process called "The Dig". Using discarded objects like a boombox, solar cells, an umbrella, a broom and more, Sachs created a set of tools to help with the scientific analysis, which include a Phonkey, an Indoctrination Fridge, a MILF Fridge, a Floor Raper, The Sun, a poppy-producing Biolab, a Hand Tool Carrier (HTC) and the MERV.
Sachs focuses on a seemingly insane number of details with ingenuity to match, simultaneously proving his prowess as both a leading contemporary artist and NASA expert. The world he has created at the Armory is one that children will relish in exploring, and adults will wish they had had as a learning tool while growing up. While his Mars exhibition presents space travel in an easily digestible and ultra entertaining form, his intention is more serious and far-reaching. The project's official description explains that with the end of the space shuttle program last year, Sachs aims to provoke "reflection on the haves and have-nots, utopian follies and dystopian realities, while asking barbed questions of modern creativity that relate to conception, production, consumption, and circulation".
Sachs and his 13-person team will be in residency during the month-long exhibition giving artist talks and demonstrations. While the show is undoubtedly one to see in person, those outside of NYC (or who missed the 2007 "Space Program" show at the Gagosian in LA) can still get in on the action—200 Space Program Zines are available in the online gift shop, and fans can pick up his extensive book (to which Buzz Aldrin contributed) or wear one of the items from Sachs' capsule collection that he developed with Nike.
"Space Program: Mars" runs through 17 June 2012 at the Park Avenue Armory.
- May 16, 12Create your own miniature world full of beautiful flora and fake fauna with this step-by-step guide
From their Victorian-era genesis to waves of popularity in the '70s and in recent years, terrariums have taken on a variety of mossy forms. Leading their most recent charge was the uniquely charming, Brooklyn-based Twig Terrariums, whose uncanny ability to build miniature worlds complete with perfectly manicured landscapes and quirky characters breathed new life into the household standby. Twig creators Michelle Inciarrano and Katy Maslow have recently released Tiny World Terrariums, sharing step-by-step instructions on creating your own verdant paradise.
With revealing photography of little dioramic worlds depicting every situation imaginable—from graffiti writers in Manhattan to backpacking adventures in the desert—the DIY manual teaches the average crafter how to transform their own glass jar from a simple dish to an enchanting landscape. The book is filled with dictionary-like descriptions and even suggestions of proper tools for harvesting moss from the wild, making this little book an ideal guide for the novice "terrarer".
Tiny World Terrariums is now available from Amazon for about $25. The book may also be purchased directly from Twig Terrariums, which also has more information, terrarium inspiration and a list of suggested NYC-based retailers for terrarium essentials.
- May 16, 12We asked Lindsey Adelman to create a custom speaker for a unique audio experience during NYC Design Week
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Best known for her hand-blown glass and sculptural brass lighting fixtures, Lindsey Adelman is no stranger to exploring the limits of industrial design. Driven by this pionering spirit, Adelman's studio, in collaboration with Kiel Mead of the AmDC, teamed up with Sonos to create the "Soundalier", a centerpiece for the Sonos Listening Library being held at The Standard East Village during the upcoming NYC Design Week. This gorgeously inventive speaker structure embodies Adelman's bold design while showcasing the supreme quality and adaptability of the wireless Play: 3 speaker from Sonos.
Inspired by Mead's initial idea and starting from a photoshopped collage, Adelman repurposed an existing BB.05.01 lighting fixture by essentially replacing the globes with speakers, customizing it to create a piece that demands attention. "It's new. I love that the form has integrity but is also quirky. The way the speakers are so massive next to the skinny brass arms, you wouldn't think the frame couldn't hold their weight. It's really unexpected and fun," says Adelman.
The raw brass frame has been given a dark bronze patina to play off the clean aesthetic of the Sonos Play: 3 speakers, making for a beautiful juxtaposition that nicely compliments the other designers showcased in the Listening Library. The Soundalier will be suspended above the custom-designed room holding a collection of design pieces by the likes of Pete Oyler, Evan Dublin and The Future Perfect to create a truly unique listening experience.
The exclusively designed Soundalier and its accompanying collection of prototype designs chosen by Cool Hunting and our friends at Architizer and Dwell Magazine will be shown as part of the Sonos Listening Library. If you're in NYC over the weekend make sure to stop by at The Standard East Village to view the exhibition from 12-7pm, 18-21 May 2012.
- May 16, 12Our conversation with the consummate collector on the thrill of the hunt
For anyone working in the area of fine art photography, Bill Hunt is a familiar name. The self-described "champion of photography" has demonstrated an unrivaled passion for the medium as a curator, dealer and collector for almost 40 years. Hunt's photography collection is nearly as infamous within the field as the man himself. Ranging from anonymous images from the 19th century to modern masterpieces by the likes of Lee Friedlander, Diane Arbus and Richard Avedon, the pictures all share one thing in common–as Hunt says, they are "magical, heart-stopping images of people in which the eyes cannot be seen."
Earlier this year, highlights from Hunt's collection appeared in a beautiful and quite hefty book called "The Unseen Eye", with thoughtful commentary alongside the images. We got the chance to talk to Hunt about his collection, pulling inspiring fodder from the book to spur the conversation.
"Photography is revelatory, both as revelation and as something to revel in." What drew you to start collecting photography, especially at a time when photography didn't have a lot of clout as an art form?
On some level I have always been a gatherer of stuff—shells, books, musicals—so that gene was there. But I didn't start out to collect; I just bought a photograph, and then another, and then another until one day I asked, "Holy shit, what's happening?" Then you give yourself permission to proceed. I thought it was funny that it was art too. Go figure.
"I like bliss, epiphany and escape. I am enthralled by the possibility of transcendence and subscribe to the belief that a large part of life is a search for meaning, or at least feeling. Sometimes this takes me to the darker side, to images that provoke a visceral response that is intoxicating and frightening." What is it about a picture that makes the hairs on the back of your neck stand up?
That makes your heart boom? That makes you stop in your tracks? It must be some sort of "Road to Damascus" divine moment of clarity. Look for those moments that say, "Pay attention to this because it will give your life meaning, or at least some resonance." Un coup du foudre. Thunderbolt. Orgasm. Somehow in the midst of banality you find a moment of real sensation. It is not about beauty—although it can be. It is alarmingly like drug addiction, but real collecting is completely spiritual. Hallelujah! It is like listening to the tumblers in a lock when you try to open it. When they are lined up, you can hear it—you recognize that sound—before the door actually opens. You know you have made it in.
"Many collectors look only at so-called 'art photography', which is considered and aestheticized and finely printed. There is an implicit elitism here. Then there are some souls who are truly responsive to the image first and foremost. I am in this group." I am in this group too. Can you talk about the thrill of discovering an amazing picture that may have been taken by an anonymous photographer 100 years ago?
With photographs there are so many great, crazy questions. Why did a picture get saved if it doesn't have informational value (Who is this?) or if it has condition issues? Your trash, my treasure. Great pictures operate in a special way. You are part of some equation. The way in which a completely peculiar piece speaks to you uniquely and powerfully depends on your being a collaborator. It means something to you. Very often it is the suggestion of something that brings you in—the enigma attracts. It's as if as you finish a puzzle you didn't know you were working on.
In my book there is a tintype portrait of a little girl. It is sweet but what makes it chillingly grand is its condition: the silvering has fallen off or oxidized, so it looks ghostly. She is a specter. Also what's cool is that my sister spotted it at some antique fair and she snagged it because she knew it was a good one. That's fun when you've got other people out there looking too.
"Collectors are obsessed, ravenous for this one and then the next one. People who do not collect, won't. They don't connect with this intense, obsessive force." I know you have moved on from collecting these images of hidden eyes, but a collector never stops collecting. Where is the focus of your passion now?
I really don't collect now. It's not the same. The covetous part of collecting has passed, I think. I was shocked once to answer the question "Why did I have to own them?" by saying, after some hesitation, "Because then they were MINE."
But I still want to look and have that thrill of engagement and then I want to write and to talk about it. That interests me intensely. That's what I collect. I want others to look too. I am still a proselytizer but without as much stuff. Collecting is a way of creating order and insulating from chaos. I don't need it or, more to the point, want it now. I want to be lighter in my feet, ready to move. It's different. But wow, what a thrilling experience. As I say in the book, photography changed my life, it gave me a life.
- May 16, 12An impromptu conference aimed at reforming a war-torn nation
For many Somali refugees, the film Black Hawk Down serves as one of their only memories of the civil war that has ravaged their country for the last two decades. This Thursday, 17 May 2012, thousands of expats—along with the rest of the world—will see their nation again in a live broadcast of TEDxMogadishu, an impromptu conference bravely taking place in Somalia's capital city.
Documenting the event are filmmakers Sebastian Lindstrom and Alicia Sully, a progressive duo who recently shot a feature film highlighting the various ways people use camel milk. After filming the TEDx summit in Doha, Lindstrom and Sully joined fellow organizers in Somalia to finalize plans for TEDxMogadishu and make the underground announcement about the nation-shaping symposium.
With a war on the periphery and pirates on the beaches why risk venturing to Mogadishu when the whole conference will be streamed online via satellite? Well, for the first time in years, Mogadishu is being spared active fighting, and people are coming back and opening businesses. There are success stories to share, like that of participant and supporter Liban Egal, who is the founder of the brand new First Somali Bank.
The goal for TEDxMogadishu is to create a space in which to spread ideas for positive change in Somalia. Lindstrom points out that the group empowering the independently organized event isn't the first to see a change taking place in Somalia (he helpfully sent over links to The New York Times, Newsweek, Voice of America and Foreign Policy). In some ways, Mogadishu is a model forum for the TEDx conference as it stands on the forefront of something hugely important–the rebirth of a nation.
If you tune in to the satellite stream of the conference on Thursday, you will witness a powerful movement happening in Mogadishu. Along with the short lead time on the announcement of the event, safety precautions are being put into place to protect the attendees and speakers, which Lindstrom says includes "a chef and restauranteur, a real estate developer, the founder of a university, the founder of the first Somali bank, a camel farmer, healthcare specialist, a Somali journalist and more."
To find out how to attend the three-hour conference you can call or email the organizers. Those tuning in digitally can catch the live feed at 2pm in Mogadishu (12pm London, 7am New York).
- May 15, 12Peeling back the layers for a portrait of human truth
by Katharina Galla
The portrait photographer Christian Witkin is best known for his advertising and editorial work for major publications like New York Times Magazine, Harpers Bazaar, Vogue and many more. Entering what he calls "the second half of this life", he is now shifting his professional career to return to his roots in fine art, the foundation of his personal photographic work.
"I've been very fortunate that most of the advertising work I do is what I love doing," says Witkin. "But the commercial world is only important to me in that it allows me a particular lifestyle and to be in this space, and it allows me to photograph whatever the hell I want." According to Witkin, he knew he was meant to be a portrait photographer when he was 17 years old, after years of nourishing himself with art imagery and photography in books given to him from his father, a painter himself. It wasn't until later that he realized that a book by Diane Arbus had greatly impacted his work, along with the works of August Sander and, to some extent, Richard Avedon. "I've always been drawn to faces, but the motive goes beyond that in the peeling back for honest moments and truth," he reflects. "You can read people's faces, you can see how they treat themselves, what kind of lives they live, it's all in the exterior."
When it comes to the commercial world of portraiture, says Witkin, "you are not working with subjects but you are working with celebrities or professional models, but the sensibility remains the same." While shooting the Olsen twins, for example, he relies on engagement, waiting for the moment in which the two women connect and it feels right to them. For him, the beauty lies in this intimate moment.
In the 1990s Witkin took his medium format camera out on the streets in his NYC neighborhood around 14th Street to snap curious New Yorkers in order to build both his portfolio and his confidence to win over people. Ever since, Witkin relishes daylight and working with strangers, always using film for his personal work. When he travels, he uses a smaller hand camera and a 4 x 5 Linhof Technika, which he mastered to operate quickly, because the ability to "act fast", he points out, is crucial. On the other hand, "Composition is part of the talent you are born with, but it has to be refined," says Witkin. "And that can only be done by exposing yourself to these situations. I developed a very keen sense of composition when I actually processed the film and printed my own black and white prints. I rarely crop my photographs, they're just shot the way I want them to be."
Witkin's curiosity for people's attractive and repulsive elements led to numerous journeys to India and purposeful encounters with the fascinating faces and dark stories of dowry victims, diseases like neurofibromatosis, and the discoveries of subcultures like the Hijra in India or the lady boys of Thailand. By way of explanation, he simply says, "I like to be overwhelmed." Through a deep encounter with individuals who fully embody the culture they live in, Witkin managed to document the intensity of certain Indian cultures.
Whether a commercial image or the most intimate nude shot, his portraits likewise demand an engagement from the viewer by exposing layers of communication and manifesting the nuances of the story in the details of the physical body of his subjects. In his practice as a photographer Witkin explores the tension between himself and the subject, the subject and the lens, and inevitably the social framework which insinuates a sense of self-presentation. At times, the viewer is compelled to pause and ponder on the ethical pitfalls of human hypocrisies.
Following the paths of vulnerability and intimate tension, Witkin strips down his subjects. "The more you do it, the more you get into it, literally," he says. A monograph he's working on entitled Ordinary Beauty comprises nude shots and fragments of the female body as a reflection on intimacy and one of many steps he is taking towards what one may or may not want to call fine art photography. His current project in this direction is a composition of four groups of portraits on display this week's New York Photo Festival (NYPHO) opening on Wednesday, 16 May at various locations in DUMBO. Together with Irmelie Krekin and Evangelia Kranioti, his work is going to be shown in one of the four main exhibition segments curated by Claude Grunitzky titled "The Curse and the Gift".
- May 15, 12Pep up your pup's health with a daily dose of powdered vitamins
Though new to the market as a clever way of thinking about canine supplements, K-10+ seems like a product that should already exist. The line of dog-friendly vitamins is the brainchild of NYC-based photographer Ryan Singer, who developed the range after realizing how difficult it is to get a dog to eat a pill. The single-serving powder formulas are "basically like Emergen-C for dogs", he tells us.
Depending on the dog's weight, you simply drop the contents of one packet into its water bowl or mix it into its food for a quick and seamless immunity boost. Currently K-10+ makes calcium, glucosamine, omega 3 and multi-vitamin formulas, and each are concocted with human-grade ingredients and designed to be odorless and tasteless.
Each box contains 28 packets for a month's worth of daily nutrition doses for your pup. Pick them up online for $35 a box.
- May 15, 12Inspired by viruses, jewelry designers grow crystals on rope
by Adam Štěch
Exploring the formation of the jewel as a natural process and celebrating it as a performance, the latest collection of distinct jewelry from the conceptual Prague-based designers Daniel Pošta and Zdeněk Vacek of Zorya fuses dynamic drama with simple beauty.
The Virus collection, the most experimental project to date from this creative pair, launched last October at Designblok 2011 Prague design week. Their previous jewelry includes strangely organic creations of raw beauty in which biomorphological inspiration meets precise technical execution with materials such as gold, silver and stainless steel, as well as textiles, pearls and plastics—as exemplified in the pendants and earrings resembling flowers and beetles in the Bye Bye Birdie collection.
Discovering new possibilities of the performative qualities of contemporary design, the Virus collection marks a new chapter in the work of Pošta and Vacek. Inspired by the natural processes and substance of every virus and their ability to take hold of their victims and spread, they have created process-based jewelry using simple chemical reactions. Their instrument was the crystallization of alum, which was grown on raw ropes to create natural crystal structures. The upshot is an unorthodox connection of materials with natural and creative art processes.
The elegant collection, which was awarded the main prize at the annual Czech Grand Design Awards, is characterized by a beauty that seems both brutal and fragile.
Zorya's collections are available at selected retailers in the Czech Republic.
- May 15, 12Herd your own laser-cut cardboard mechanical menagerie
Using the same tab-and-slot construction technique as classic balsa wood airplanes, Kinetic Creatures start as flat-packed, laser-cut cardboard and transform into the impressive mechanical Rory the Rhino, Geno the Giraffe or Elly the Elephant. The DIY animals were conceived by Portland, Oregon-based visual arts teacher Alyssa Hamel and industrial designer Lucas Ainsworth, who were interested in encouraging youth to "be builders, thinkers and inventors". After four years of research and design, the duo are launching a Kickstarter campaign today with the goal of raising enough funds to make the project possible while keeping the production local and sustainable.
As a project with educational roots, Kinetic Creatures require hand assembly and move by either a hand-cranked wire handle or an optional electric gear kit. The intuitively-assembled kit consists of little more than laser-cut wooden gears and a battery-operated on/off switch that fits in the open back of each animal, showing off all the moving parts for a basic lesson in mechanics.
To learn more about the project or to support this clever blend of art and science head to the Kinetic Creatures' Kickstarter. At this point donations are the only route to getting your own animal, so for $30 you can score your own Elly the Elephant or Rory the Rhino, while $40 buys Geno the Giraffe and $90 or more gets you all three critters for your own moving menagerie.
- May 14, 12A mad tea party of paintings
Initially catching our eye at the recent NADA NYC fair, Michael Bauer has made an impression in the European art market for years with his energetically moody compositions. The German artist recently set up shop in New York, and in celebration of his move from Berlin to NYC he is holding his first solo show at Lisa Cooley Gallery, dubbed "H.S.O.P. - 1973".
Bauer spent much of 2012 experimenting with collage and drawing, a practice that has invigorated his new paintings with what the gallery calls an "openness, dynamism, lightness and mischievous humor" not seen in his previous work. Still, certain elements from his early career remain, most notably his small, meticulous markings and his predilection for highlighting and obscuring physical deformity. According to the Saatchi Gallery, "Bauer uses the qualities of abstract painting as a deviation of representational portraiture, allowing the media to replicate the characteristics of physical matter."
Even as his compositions become tighter and more centralized, Bauer seems consumed with making figurative elements from the marking of his medium. He describes the work in "H.S.O.P - 1973" as "portraits of gangs, families, music bands, collectives, or mobs—a grouping of characters revealed through the occasional eye or profile emerging from shadowy abstraction. Flat, crisp, bright, patterns usually provide the structure from which these organic nebulas originate."
The title for the exhibition is a little obscure, and Bauer calls "H.S.O.P." an "arbitrary reference" to the Hudson River School of painting, and because there's a foot or foot-like shape in each painting, the accompanying numbers indicate European shoe sizes. The other elements aren't quite so random. Bauer adds circular shapes to the corners to make them more like playing cards, with each painting like a "character in an unfolding cast, a mad tea party of sorts."
”H.S.O.P. - 1973” is on view at Lisa Cooley Gallery through 17 June 2012.
- May 14, 12Shanan Campanaro reflects on her "Poolside" collection and the art of designing patterns
Using little more than Muji gel ink pens Shanan Campanaro creates highly detailed drawings then degrades them with a dash of water to reveal unexpected patterns for her line of wallpaper, pillows and scarves, Eskayel. Her simple set of tools provides the foundation for an extensive process that involves painting and then digital manipulating her analog work. We recently caught up with the self-proclaimed neat freak at her Williamsburg studio to learn more about her latest collection, and the surprising way in which she creates such whimsically structured motifs.
Campanaro starts by drawing, usually working small. She uses the water-soluble Muji pens (or sometimes Higgins inks) to paint primarily pictures of animals, and then distorts the lines by flicking water onto the paper to make the ink bleed. "I like to work on a couple pieces of paper on top of each other so that it sinks through, and then I'll draw the same thing a couple of times," she explains. While she prefers pens over brushes for cleaner lines, she then counteracts that precision with a loose application of water. Campanaro demonstrated her method for us on a painting of a rooster she is doing for an upcoming exhibition called "Rare Birds". Although "everything comes from a painting", at the end of the day "everything has to be done on the computer".
While she says she always paints stuff "not for wallpaper", this medium is often at the back of her mind. While painting, Campanaro tends to notice an element that might look good as wallpaper so she'll stop and photograph the work at that point because, she explains, "for the painting to have more contrast and depth and look good as a painting, you kind of have to ruin the part that was good as wallpaper."
The creation of the pattern marks the beginning of the digital aspect of the process. After scanning in a photograph of her painting, she begins to inspect it in Photoshop, looking for interesting areas where the ink has bled. This begins a lengthy trial-and-error process where Campanaro zooms in on and crops a fraction of the painting, copies it, multiplies it and decides if it makes a harmonious pattern. As we saw on our visit, this part of the operation relies heavily on Campanaro's trained artistic eye and experience as a designer.
The Central St. Martins grad is mostly inspired by travel, and she enjoys bohemian settings in places like Indonesia, Mexico or Capri. These destinations tend to show up as the themes for her collections, although her latest, "Poolside", draws from time spent back home at her parents' house in San Diego. The collection includes eight different patterns, and spans bold geometric designs in "Solitaire" to the abstract motif of "Splash".
Campanaro—who’s also an unexpected sneaker freak—likes working in the commercial realm of art. After receiving her degree in fine art, she began looking for jobs at streetwear labels and ended up making T-shirts in London with two friends from school. This actually marked the beginning of Eskayel, whose name is a phonetic combination of their initials, S, K and L. The company is now a solo act with a different purpose, but Campanaro still collaborates frequently, and she co-founded the charitable arts organization FOOLSGOLD with her friend Maria Kozak, where many of her wildlife paintings end up on display.
The industrious designer never stops thinking of ways to expand her talents. Whether experimenting with different types of paper, creating custom textiles for furniture upholstery or adding new products to her shop—last year she threw woven baskets into the mix of wares comprising her online shop—Campanaro continues to successfully combine fine art with commercial sensibility. Keep an eye out for her at the Javits Center during the upcoming ICFF in NYC, and for her next collection, "Akimbo", debuting July 2012.
Images by Karen Day. See more in the slideshow below.
- May 14, 12Visitors are in for a multi-sensory experience pulling ropes to play music at Sonos Studio
Bringing their passion for the emotional connection to sound, Sonos opened the Sonos Studio in LA to celebrate the listening experience. The new event space will host listening parties, screenings, lectures, workshops, concerts, and art installations. At their first preview event, reggae legend Jimmy Cliff shared tracks from his upcoming album and an intimate live set for the first 100 people to visit the Sonos Studio. On the other side of the room, about 100 ropes hang from a large square pegboard by LA artist Luke Fischbeck for his installation, "Center of Attention".
Each rope ends in a colorful metal tube resembling the aglet on a shoelace. A close look at the elements of his striking sculptural piece reveals tiny wires strung through each strand that when touched emit sounds from the wireless Sonos music system rigged above the grid. Instructions for how to interact with "Center of Attention" are posted on the canted gallery walls: "Touch more than one rope to play. Each rope carries a signal which is carried through your body. Touch another person. Combine the signals. See what sounds you can find."
The sounds in "Center of Attention" have a mysterious, magical quality. Random tones flow together in the kind of piece that might be composed for a contemporary dance concert or modern production of A Midsummer Night's Dream, pairing nicely in the lighthearted activity within the space. After Jimmy Cliff's set, the crowd gravitated to the installation and interacted with it by touching the ropes and each other, playing with the different tones made by the six colors for some sophisticated, fun Twister-like game play. Deeper investigation by studio visitors inspired some hand-holding, concentrated listening and happy smiles all around, it seemed.
The playful experimenting with sound is just what the creators of Sonos had in mind when they hatched their plan to open an interactive studio space. Their new studio in the La Brea Art and Design District features everything they need to experience state-of-the-art sounds through live and recorded music, multimedia events and art installations. The custom-built pyramid-shaped red and black foam sound tiles that line the ceiling not only help the acoustic but also add a graphic element to the 4,000 square foot room.
With the intention of creating a community space, Sonos asked architect Rania Alomar of RA-DA, interior designers from The Studio Collective, Tyler King of Coffee Commissary, and furniture deisgn by Knibb Design to all collaborate on the space. Skateboarding legend Natas Kaupas also created a skateboard lending library complete with a playlist to accompany each deck.
Fischbeck's "Center of Attention" is the first major art installation in the Sonos Studio. The artist often collaborates with Sarah Raha under the name Lucky Dragons on work exploring and experimenting with sound and touch for shows at MOCA and in the Whitney Biennial. We caught up with Fischbeck to learn more about the process behind creating "Center of Attention".
How did the idea for the piece about?
It started as a way of trying something out, to see what would happen. I've been wondering about the way our sense of touch connects us through technology, as an easy way to extend ourselves into the world. On the other hand, when we touch one another directly we share a sense, actively. There's a choice in this that is often playful, kind, sympathetic—and can bridge many differences.
Why is the Sonos Studio the right space for this installation?
As a site-specific installation, this piece would have turned out completely differently in any other space. I was drawn to the idea of Sonos Studio as a sort of in-between space. It's both a gathering place, defined by a series of public happenings, and a place for objects, a place to listen and touch. It's a platform for the presentation of things, but also a thing in itself, with its own very strong identity. Visitors taking part in an event find themselves caught between engaging with one-another and engaging with things. The installation tries to build on this in-between-ness, it's a potential performance at all times, waiting to be activated in a playful way by anyone who stops by, and until then, just a part the wild background.
What materials did you use?
Pegboard, oak, painted steel, electric fence rope with conductive wire braided into it so that it carries a current along its length, a few electronic components, a lot of connecting wire, and a computer running custom software.
What was the process for installing the piece into the gallery?
Actually way more intense than originally planned: I'd wanted the installation to be an extension of the ceiling, hanging down almost to the floor so that it appeared to be both a part of the space and also floating independently off the ground. It turns out it takes four friends to help properly attach and align a floating rectangle! Then there was a lot of tedious wiring to get the electronics to work right, but hopefully now it just goes on its own.. until we have to take it down!
How long did the installation take from conception to installation?
There was a long quiet period after the initial idea, and then a big hurry at the end while we figured out the practical details and put it together...altogether about six months I think!
Explain how the touch activated elements work.
Each of the conductive ropes carries its own signal, a tuned circuit at an individual frequency. When you touch a rope you carry that tuned signal on your skin—touching another rope, or another person who's also touching a rope, will combine signals, creating combinations of frequencies that are turned into sound by the software. Different kinds of touch, from gentle tickles to full grasps, affect how much of each signal is combined, meaning that each point of contact contributes to the overall sound.
How does the number of bodies in the space change the sound?
Any number of people can play the installation directly, by touching different ropes. People can also change the sound by bridging between those playing it directly. Any point of skin contact affects the ways the different signals mix together. There's a range of effects that can be heard, from drastic swooping melodies to very subtle changes in texture, hopefully enough chaotic possibilities that it's fun to play with…experimenting together with other people!
What other projects are you currently working on?
A community radio station, a platform for collaborative drawing ("Sumi Ink Club"), a few light-sensitive synthesizers… we'll see!
"Center of Attention" by Luke Fischbeck in on view at Sonos Studio 9 May—6 June 2012.
- May 14, 12Artist Daniel Buren plants a forest of candy-colored sunshades for "Exentrique(s), travail in situ" at the Grand Palais
Following the installation by Anish Kapoor in 2011, Monumenta 2012 invited famed French artist Daniel Buren for the fifth edition of the annual challenge to create an installation that will fill the soaring nave of Paris' Grand Palais. Buren's take on the site-specific concept is "Excentrique(s), travail in situ".
True to its name, what Buren has created can best be described as eccentric—a rainbow forest of hundreds of transparent, sunshade-like plastic saucers planted on flagstaffs spreads over the entire area of the 13,500-square-meter space, playing with the light pouring into the huge, glassy cupola to cover the ground with colorful reflected spots.
For this color-dominated installation, even the central cap of the dome itself has been saturated with a blue checkerboard to resemble the stained-glass windows of a church. Working as a huge illuminated forum, the whole display is conceived to attract, reflect, expend and multiply the light into fragments of joyful colors. At night the figure reverses and the glass roof is lit by the reflected colors of the saucers, due to a sweeping electrical device. The forest also features a relatively low ceiling that counterbalances the 35 meter height of the building.
At the center of the work is an interruption in the cover of the sunshades, with disk-shaped mirrors on the floor that make the area seem like a glade among the forest of umbrellas. Their pools reflect the steel structure of the roof above, and from there, the exhibition spreads out on all sides in a dotted landscape of colorful saucers.
In keeping with the idea of the eccentric—meaning away from the middle, existing on the fringe of the mainstream—the experience was designed to keep the center from swallowing up the rest of the space. Visitors enter on the north side of the nave and exit through the south wing, an intentional course that forces the visitor to cross the length of the expanse while avoiding the center. As Buren explains, the center tends to draw all the attention and leave the rest of the space empty.
Buren touches on the idea of the eccentric by diverging quite far from his typically austere and minimalist black and white vertical stripes which established his name. Though still highly recognizable, Buren's new work hasn't been seen before from him, all circles, transparencies, light and color.
Having now established himself as a master of color, Buren uses his basic figures—black and white vertical flagstaffs—along with the new round shapes of the saucers and mirrors. The circle is the key figure of the installation—the high, round saucers as sunshades, the round mirrors on the floor in the center. Buren started considering the circle after he realized that the whole architecture of the Grand Palais building was based on the pattern of this figure.
Continuing the 40-year pursuit of his work, Buren plays on forms with a mathematical approach. The game here consists in assembling tangent discs, all in contact with one another, filling the empty space as much as possible. Employing only four basic colors (blue, yellow, red and green) Buren displayed them after an alphabetical order, with blue appearing 95 times and the others, 94 times each. The installation is completed by a soundtrack comprising the repetition of the names of the colors in 40 different languages.
"Excentrique(s), travail in situ" is on display at Grand Palais through 21 June 2012.
- May 14, 12Heritage Irish potato spirit from a one-man distillery
Resurrecting a rare Irish spirit in the Bay Area is no easy feat, and distiller Salvatore Cimino isn't the most likely candidate either. The third-generation distiller is of Sicilian descent, and decided to try creating the potato-based "poitín" (pot-cheen) at the behest of a friend who presented him with a heritage recipe. Having experienced some success with a duo of Prohibition-era rye whiskeys, Cimino created "Signature Poitín" as part of his one-man distilling operation 1512 Spirits. His methods bring a new meaning to the phrase "hand-crafted", overseeing the entire process in a 700-square-foot space.
A barber by day, Cimino named the distillery 1512 after his shop, working on his spirits during off-hours. Using 95% potatoes, Cimino begins by juicing the spuds and cooking the liquid over a direct flame. He then adds hand-milled barley and cooks his mash, leaving it to ferment for three or four days. The mixture is separated by hand and double-distilled before it is proofed at 104. The process recalls the heritage of Irish farmers who would make this spirit with local materials and resources. While the Signature Poitín is high effort and low yield, Cimino is sticking to his artisanal guns.
Poitín—Irish Gaelic for "small pot"—isn't a delicate spirit. The flavor is robust, heavy on potato with floral notes thrown in between. While some will find it too raw and one-dimensional, others will appreciate the honesty of flavor that comes through, which is similar to that of a single-varietal vodka. Fans of the poitín enjoy it in a hot toddy, warm it up to expose the floral flavors or drink it neat alongside oysters. The drink is a true eau de vie—more likely to wake you up after a meal than tuck you in for bed.
The next release from 1512 Spirits will feature a rare wheat whiskey, which has been aged in ex-rye barrels. With batches that are limited to around 85 bottles, the level of craft goes well beyond single-barrel whiskeys. 1512 Spirits' Signature Poitín can be found at select retailers and online through Cask Spirits.
- May 12, 12Maurice Sendak sniffing Sharpies, flying cars, antigravity balls and more in our look at the web this week
1. Maurice Sendak
Book lovers the world over mourned the passing of Maurice Sendak, author of such childhood classics as "Where the Wild Things Are" and "In the Night Kitchen." Remembering him, we've been looking back to a particularly memorable and hilarious interview with Stephen Colbert, in which the two discuss everything from e-books to Sharpie-sniffing.
2. Redesigning Dickens
In celebration of the Victorian novelist's 200th birthday, GraphicDesign& recruited 70 eminent graphic designers to interpret the first page of "Great Expectations". The creative juices of the talent pool yielded "Page 1: Great Expectations", a collection of creative type jumbled with complicated infographics, QR codes and vintage illustrations.
3. Socialmatic
Based on the unstoppable Instagram app, Italian design company ADR Studios imagined Socialmatic as a physical camera to bring the virtual snapshots to life. The concept features 16GB of storage, a 4:3 touchscreen, wifi, Bluetooth and would even print photographs like a Polaroid. They don't mention filters, so one may actually have to rely on skill and technique to make their cat and brunch images interesting.
4. Creating Dubstep
While some may not think pushing buttons on a touchpad constitutes making music, this impressive video showcases the talent required to create dubstep. Shot in one take, Riccardo Betti's agile hand work resembles a futuristic pianist hard at work, making the chopped samples and stretched beats flow furiously together into one head-bobbingly infectious track.
5. Vidal Sassoon the Movie
Coinciding with the passing of famed stylist Vidal Sassoon, a documentary on his life debuted last week at the Tribeca Film Festival. What started as a short film from Bumble and Bumble founder Michael Gordon soon morphed into an homage to Sassoon. His famous five-point geometric cut was worn by the likes of fashion icon Mary Quant, and was imitated by millions who favored the low-maintenance "do".
6. Wizard of Aus
Front-line street style photographer Tommy Ton shows how Aussie girls do Sydney Fashion Week—with a refreshing shock of color. Unlike the painfully chic and somber black palette of the northern hemisphere, the fashion elite down under brought their own attitude to last week's festivities with sun-splashed highlights, wild tie-dye, saturated florals and plenty of cut-offs.
7. Sewing Photos
Faded vintage portraits of young dancers are given new life in a series by artist Jose Romussi, who embroiders the prints with colorful thread. The pleasant contrast of vibrant sewn threads and black and white textures lends a playful quality to the girls' retro-fitted tutus.
8. Fashion Like
If you're wondering what the cool kids are wearing, you'll have to hit the streets, but Brazilian fashion retailer C&A has figured out a way to share what styles people are liking on Facebook, at least. Their new Fashion Like initiative has installed digital screens on hangers that display in real time the number of "likes" an item gets in their Facebook photo gallery. An interesting experiment in the convergence of virtual and brick-and-mortar worlds, but whether "likes" align with sales remains to be seen.
9. ZeroN
MIT Media Lab has recently unveiled ZeroN, its marvelous new antigravity ball. Controlled by powerful magnetic fields, ZeroN allows humans or computers to control the path of a floating metal ball eerily similar to Luke Skywalker's training probe. The possibilities are endless.
10. PAL-V One
Another milestone has been reached on the lengthy journey to that most anticipated of futuristic technologies, the flying car. The PAL-V One is a two-seat hybrid car that, with the push of a button, transforms into an elegant gyroplane. Requiring both a driver's license and a Sports Pilot license, the PAL-V One has a range of up to 315 miles in the air.
11. re:route
Launched this week, and so far strictly for Londoners, re:route is a new app that aims to incentivize urbanites to use cleaner methods of transportation. Every time you walk or bike somewhere the app takes note and awards you points. Those points can then be redeemed at select retailers. Get out there, stay healthy, save the world and get some free swag in the process.
12. Candle Cake
Here's another invention that lets us happily acknowledge the endless creative potential of food—this chocolate molten cake takes it to a whole new level. Place a chocolate candle in your cake, light it up and soon enough you have a piping hot and delectable desert.
- May 11, 12Young UK designers strike out on their own with color, humor and innovation
One menswear collection stood out among all the others at A/W 2012 London Fashion Week in March. Bright, bold and bearing no resemblance to anything seen before, Agi & Sam hit the headlines for their seemingly effortless fusion of color and style. Launched in 2011 by Agape Mdumulla and Sam Cotton, two 26-year-old UK designers who cut their teeth working at Alexander McQueen, Karl Lagerfeld, J.W. Anderson, and Blaak Homme, Agi & Sam is fast gaining recognition for its bespoke prints, original designs and ability to inject humor into the world of men's couture. We caught up with Mdumulla and Cotton in their East London studio to find out more about their eclectic young label.
You have both worked for some massive names in the world of fashion. What caused you to branch out and do your own thing?
I think it was the frustration and limitation for applying our own tastes and styles on a collection. When you are at a big house you learn their ways and techniques and your aesthetic starts to turn into what is needed to produce their collections. This was great initially as it formed our taste and style and we are massively influenced by McQueen, even still now, but I think we wanted to apply a bit more to a collection and really develop something we felt was interesting, different and had so far been untouched in fashion.
You use an incredible amount of color, which is slightly unusual for men's fashion. Where do you source inspiration for this and how receptive do you think men are to injecting a lot more color into their wardrobes?
We have always said we wanted to be positive with our approach to fashion and have fun. I think color links directly to positive connotations and really shows you can have fun. The colors we use are always inspired by whatever we look at for influence for the season. Being as we always choose humorous projects to look at we often find we are bombarded with bright colors and imagery. If we were to look at death and depression as an influence you'd of course find a lot less color than a guy who was found in a bin dressed as Dr. Who outside the large Hadron Collider.
Prints are key in your collections. Do you design these yourself or do you work with other artists?
No we design all the prints by ourselves. The more work we have on our plates the more we regret doing so, but we are quite picky with our tastes and prints. Everything we produce is quite personal to our own humor and the way we work with color and print might be quite hard for an artist to kind of understand and hence wouldn't come out quite right in the print.
What's been the biggest obstacle so far in getting the label out there?
I'd say working to make the brand accessible was hard. We are working on a business model that doesn't really have anything to go off, we can't start a tailoring brand and then follow the methods of Saville Row companies, or produce a sports range that has massive inspiration from Nike. We have had to kind of test the water really quickly by plunging our heads in and holding our breath. When we were awarded the MAN show we knew we had a lot to change with the brand and had to pull it all together to fit a catwalk and become a business. This was the hardest thing we've ever done in our life. We didn't talk for about a month.
If you had a soundtrack to your label since its inception, which musicians would feature on it?
Tupac, Dre, Neil Young, Arcade Fire, Sufjan Stevens and Hudson Mohawke.
When was the first time you saw someone that you didn't know in Agi & Sam?
Red Hot Chili Peppers were probably first and the strangest. Flea liked the trousers so much he decided he wasn't going to give them back. At least they've gone to a good home, as long as they didn't end up in the bin. In fact, I hope he sleeps in them.
What advice would you give to others starting out in the fashion industry?
Put all your thoughts and work into developing a strong identity, don't settle for someone telling you can't do anything you want to, and remember it's a business not a hobby.
- May 11, 12Magnetized paintings expose eerie abstractions
Bulgarian artist Georgi Tushev creates magnetic landscapes, his forms simultaneously recalling nebulous cells and galactic moonscapes to strike a precarious balance between painting and sculptural art. With a body of work that ranges from pixelated paintings of vintage porn stills to portraits of Victorian-style rock stars, Tushev now presents "Ace of Spades", a collection of new work at the Fitzroy Gallery in SoHo that explores the exotic landscapes of his signature look.
Tushev begins by taping the perimeter of his canvas to create a kind of sealed holding tank into which he pours oil paint with a high concetration of iron before exposing the black soup to a high-powered magnet. After the paint smokes and settles, bizarre formations settle on the canvas. The result is a combination of skillful artistic control and sheer chance, leaving circular fields of monochromatic topography.
For his works on paper, the artist likewise magnetizes watercolor paint, allowing the forces to separate his material into pure blacks, grays and whites. Concentric rings come together to create spectral forms which seem to reveal ghostly portraits, protean nuclei and terrestrial craters within the arrangement of pigment on canvas.
"Ace of Spades is on view at the Fitzroy Gallery through 13 July 2012. See Tushev at work in this video, and find more images from the exhibition in our slideshow
Fitzroy Gallery
77 Mercer Street
New York, NY 10012 - May 11, 12Cycling-ready heat-sealed rainwear that looks hot too
Braving the elements in style just got a whole lot easier thanks to Terra New York, a new line of fashion-conscious, 100% waterproof rainwear. The semi-transparent, smoky-hued jackets and accessories have NYC-centric names including the "Lower East Side" parka and the "Nolita" cape, and consist of materials like TPU/Urethane—which is derived from recycled materials—to provide structure while still allowing breathability.
Designed with urban cyclists and pedestrians in mind, Terra's first collection also includes special pieces like a parka with an adjustable hood that can accommodate a helmet.
Each garment is created using a heat-sealing technique at the seams to block out the water. According to co-founders and cycling enthusiasts Yurika Nakazono and Marie Saeki, "Each part of the coat has its own mold, and each seam is heat-sealed with another mold. Our 'Tribeca' trench coat, for example, is built with 75 different molds, each one specially made for a specific seam. The seam mold is heated, then applied on to the fabric, merging two, three, or more layers of fabric together. No needle, no holes, no chemicals and no water inside!"
"The inspiration was to allow people to brave the rain with a smile, knowing they look good and are protected," says Saeki. Nakazono agrees: "Living in Stockholm, Tokyo, London, Paris, and New York, I destroyed so many beautiful pieces of clothes, bags and shoes in the rain. Not finding any cool and 100% waterproof raincoats, I started thinking about doing it myself. Living in big cities, I never wanted the look of the British lord of the manor or the girl with the huge red and pink flowery rubber boots. I wanted to be chic, blend in the rain and feel comfortable."
Jackets start at $240 and are available online at Terra New York.
- May 11, 12Our chat with a comedy powerhouse about tacos, comedy and the future of media
It's not everyday you get to sit down with a comedy powerhouse like Aziz Ansari. We lured Aziz to Dorado NYC with delicious Mexican fare and talked shop about the current state of the media business. Having released his latest special, Dangerously Delicious, independently and strictly available online in a digital format, Aziz had made some interesting points about the future of content. Check out the video to learn more about his start in comedy, his love of properly battered fish and where he hopes content is going.
- May 11, 12Collective memories of China's Great Famine reinterpreted for the stage
Two years after Memory I, famed documentarian Wu Wenguang and choreographer Wen Hui are back with a new performance that challenges the boundaries of art to reconnect people to a disappearing past.
In the summer of 2009, the pair began work on a documentary film project to chronicle the events that took place during the "Great Chinese Famine" between 1959-1961. By the summer of 2010, they had 21 people participating in the "Folk Memory Project", and in the last two years they've recruited more than 40 participants—mainly film and dance students—for the second installment, Memory II: Hunger. They set out to visit the countryside and collect memories of living witnesses of the famine, one of the darkest periods of Chinese history that unfortunately has remained an empty page in modern history handbooks. More than 500 interviews recount the memories of grandparents and elders in 14 provinces and 67 villages and with the project Wu and Wen have created a visual encounter with ancestral roots and family recollections that has seldom been presented.
The five-hour multimedia stage performance spans recorded videos, photos, dance and acting. The stream of memory flows from the actors’ words and movement and the action on the screen, through the interviewers as firsthand witnesses to the audience. They pull onlookers into deep contact with memory, recalled feelings and experiences of the past.
During the rehearsals of Memory II, we had the chance to meet and talk to Wu Wenguang and Wen to learn more about the project.
You launched Project Memory in 2009. Memory I focused on the Cultural Revolution while Memory II is about the Great Famine. How did you begin exploring these dark periods of Chinese history?
At the very beginning, Wen Hui wanted to recall some memories of the time when she was young and she started dancing. Her first encounter with dance was during the Cultural Revolution: her very own experience and her growth is linked to that wave of red culture. The first and most well-known ballets were about revolutionary culture. At the beginning, it was more a reflection on personal memories. When we started doing interviews, we never limited our focus to the Cultural Revolution and the Great Famine.
The eldest we met were not necessarily talking about a specific topic or period, they were telling us about their more vivid experiences. These two phases of Chinese history became secondary topics that we present in our performance, the core of which is memory. That's also a reason why Memory, or the Folk Memory Project, is an ongoing process that doesn't end in a performance. We hope we can develop and shape the project through the difficulties we encounter.
How is Memory II different than the projects you did before?
Before we used to work on art pieces in which the performance was the ultimate goal, but Memory II is a social project. Dance, documentaries and other art forms simply became tools. This is something we didn't plan. We involved so many young people and have been working with them. They go to their villages to seek history, to find an intimate link with the past, to discover their roots. The process of recalling is a process of self-discovery. We did art for so many years and we don't think that art can change society. Now we probably can't change the world but at least we can change ourselves. I used to think that I had nothing to do with the countryside, but in China if you go back five generations, everyone is from the countryside. Our approach aims to truly understand the place we all come from, to understand who we are, and this is the most important point.
The portrait of the Great Famine you depict in your performance goes far beyond the "official version”. Don't you think this could put you in danger in a country like China?
Being a documentarian means that you don't get satisfied with the public and the official version. You look for details you usually don't find. In our history handbooks—the one we use in our performance was published in 2002 but the new one has just changed a few words—30 years of history are told in a single page, in a few lines. We look for what is behind common knowledge, we try to understand how the people really lived.
Memory II: Hunger had its premiere at CCD Workstation in Beijing on 1 May 2012. The next performance is scheduled for 18-19 May during Wiener Festwochen Festival in Vienna.
- May 10, 12Thirty designers pay homage to three decades of inspiration
2012 marks the 30th anniversary of the New York chapter of the American Institute of Graphic Arts (AIGA), the nation's premier professional design organization. In honor of the celebration, AIGA/NY reached out to 30 NYC design stars to each create a poster for the festivities based on the following brief: "AIGA, New York City, and/or the number 30: capturing your personal experience with the AIGA's NY chapter."
The roster of participating designers reads like a who's who of New York design with names like Milton Glaser, Seymour Chwast, Paula Scher, Michael Bierut, Mirko Illic, Maira Kalman, and Debbie Millman, among others. Design-wise, the limited-edition posters are as eclectic as the city, genre, and organization they celebrate.
Michael Bierut saw the assignment as a chance to dig through his basement for the mix tape he made for AIGA/NY's launch party three decades ago, which he then scanned. Describing his poster, Scott Stowell, proprietor of Open, says, "It's a receipt for your donation. It's a message from me to AIGA/NY, from AIGA/NY to you, and from you to your friends (assuming you buy one and hang it up somewhere). The poster both connects us and makes our connections clear."
"Since it was being printed, we tried to play up the use of color and the celebratory energy that it provides," says Adam Michaels at Project Projects, who approached the commission as what he calls a kind of "poster as birthday card". He goes on to explain that "Color gradients both reference the history of poster printing (split fountains and all that) as well as ideas of change and transformation. The poster also represents the studio, so we asked everyone here to give us one or two 30s of their own design to throw in the mix—the result is both multi-vocal and collective."
Of course, the anniversary—and the poster commissions—provided an opportunity to look back and reminisce on AIGA/NY's role in the city's design scene, and the recurring theme that multiple players point to is the sense of community the organization has provided its members. As David Heasty of Triboro points out, "It's the way you first get to meet your design heroes. The best AIGA events are like Hollywood premiers—a room full of creative legends chatting and drinking wine. What could be cooler?"
Stowell concurs, "AIGA/NY is the gateway drug for design in New York City," he says. "How else can we connect with so many resources and people and ideas? With more and more events and programs every year, I don't know what it would be like to be a designer here without it."
"AIGA/NY was entirely about community for me," recalls designer Sam Potts, noting the importance of face-to-face opportunities in an increasingly digital era. "Before I joined, I was just a naive kid working in the living room with a 90-pound laser printer and a Metrocard to get in to Manhattan for client meetings. Participating in the NY chapter, seeing amazing people speak live for real and in person while holding a cold beverage in my hand, meeting people whose work I'd long admired, feeling the warmth of sunlight on my face—these are not pleasures and benefits well-afforded by our creeping online social networks—at least not until WordPress comes out with a sunlight plug-in. So yeah, it was a big deal to me and opened a lot of doors to do things like teach, collaborate and pitch for the Red Sox (which has yet to happen, technically)."
The limited-edition series includes just 100 posters of each design, and 10 copies of every design are signed. The commemorative posters are available for purchase through Etsy, and all proceeds will benefit AIGA/NY.
For more information on the anniversary celebrations, including the upcoming June benefit, visit AIGA/NY.
- May 10, 12Ari Marcopoulos presents richly degraded photography, photocopies and film in a new solo show
Dark, densely textured images seem to float on the stark white walls of the Marlborough Chelsea, the mostly massive black and white photographs fill the space with an almost unrecognizable, vaguely ominous mood. "Wherever You Go" is a considered collection of new photographs, photocopies and film by renowned photographer, filmmaker and artist Ari Marcopoulos.
"It's as much about photography as it is about printmaking," says Marcopoulos about the selection of high-contrast images. Shot predominantly with a 35mm point-and-shoot, the large-scale pigment prints and smaller photographs on rice paper are often printed multiple times and blown up to expose a gritty quality. Similarly Marcopoulos experiments with additional, non-photographic printed matter by layering photocopied imagery that evokes a visceral experience enhanced by the ability to walk up close and really see each minute detail of the bigger picture—a signature characteristic of Marcopoulos' shows. But while each image finds identity in its distinct textures, the subjects themselves strike a cord with the viewer as well. "I think there is certain power in the images, a certain strength when you look at them. They're kind of heavy images," admits Marcopoulos.
Best known for his portraiture, Marcopoulos starts to stray from the expected with the inclusion of some more abstract images that remove all apparent context. "I like the idea of looking at something where you dont have an exact idea of what it is. It's nice to make something where your first reaction is not words but just a feeling."
Feeling this way upon seeing the unnamed image dated 5.8.08, we asked Marcopoulos to elaborate on the compelling photograph of stained skin. "It's very close up," he says. "It's hard to tell what it is. It kind of has to do with the idea that as a photographer or in photography so often the images are about what it is you're looking at. So this is kind of more about just creating a rectangle, that doesn't really inform you as to what it is. It's open you know. It's more of a mood or a feeling."
While some artists may shoot specifically for a show, Marcopoulos prefers to focus on a vague idea, letting the body of work develop organically. "A lot of thought goes into it, but in the end it's very intuitive, it's like improvisation," says Marcopoulos. "You have an idea in your head and you do what you feel is needed to get it done. That idea is often not a wordy idea because you work in images, so the ideas are images in your head. The only way to get it done is actually select images—it can be one image, but it's often two or three—and then put it together. Sounds very abstract but that's kind of how it is. There is not ever one theme."
While the large-scale prints and enlarged photocopies dominate the show, Marcopoulos chose to include a projected film with a colorful splash of life that contrasts nicely with the still black and white environment. Entitled "City Riders", the voyeuristic piece was shot in a few short months with Marcopoulos' BlackBerry, capturing about an hour's worth of unsuspecting NYC subway commuters.
"Wherever You Go" opens tonight at NYC's Marlborough Chelsea with a reception from 6-8pm. The show will then run through 16 June 2012.
Installation image by Ari Marcopoulos
- May 10, 12Bizarre sculpture abounds at NADA's first NYC art fair
In our second look at NADA's first annual art fair in New York City, we take a step back from the white gallery wall and focus on some of the more colorful, sculptural showings. Materials like hair, blood, crystals, broccoli and fake fur had us and everyone else gawking. Here, a selection of three-dimensional standouts.
Among the 60 galleries occupying the four floors of NADA NYC, Galerie Hussenot easily lured buyers into their booth with Ciprian Muresan's sculpture of a Barbie-type doll splaying her legs out over the Empire State Building. On the opposite wall was Muresan's suspended sculpture comprised of a skull, a cane and a cuckoo clock sprouting a foam-wrapped spring and dangling numbers. The piece is open to various interpretations, but it's certainly a new direction for the artist whose previous work includes pencil sketches and carefully executed installations with clear references to religion, politics and other power structures.
Ten Haaf Projects had some similarly confounding work on display by Andrew Gilbert, who delighted onlookers with his frightening yet funny soldier sculpture made from traditional craft items like hand-carved masks, as well as everyday objects, including a broom which acted as a stand-in for a flag pole or, possibly, a bayonet. Beside this piece was a smaller sculpture made from a head of broccoli and two potatoes with painted-on eyes. We visited Gilbert's personal website for more information, and found only a drawing of "The Temple of the Algerian Parsnip".
Ron Athey's "Foot Washing Set w/ Blonde Hair Towel" at Invisible Exports was constructed with some surprising items. In addition to a wig and some wool, Athey used crystals and, apparently, blood—so that's not red paint covering the spiky-looking brush.
=Diane Simpson went unconventional in her use of materials for "Muff", shown at Corbett vs. Dempsey. Working with faux fur and fleece, Simpson said it was inspired by "the formality and elegance of traditional Japan with the influence of Western funkiness". The kimono-like sleeves hang from a polished wood handle and the structure, depending on what angle you view it from, looks completely flat or situated at a permanent 45-degree angle. Simpson also played with angles with "Cape", a hanging sculpture similarly inspired by women's clothing, this time from the structured forms used in hoop skirts.
David Adamo's wooden installation at Ibid Projects was transported from a cathedral where it was previously on display. For the last few years Adamo has focused on everyday wooden tools like axes, bows, arrows and baseball bats, which he whittles into oblivion. He saves the wooden shavings as a testament to the object's former life and to the art-making process itself. Now that Adamo seems to have mastered smaller items he's moved onto very large wooden beams.
Michael DeLucia also shreds his sculptures, but instead of using wood alone he attaches found posters to OSB (oriented strand board) panels and scrapes them to smithereens, revealing intricate linear patterns and a new texture. The side view of the raw, ripped-up paper had collectors marveling.
- May 10, 12Look under the hood of this London Taxi and find a mobile recording studio
For outdoor live shows, off-set film shoots and small club gigs, on-site recording isn't as easy as it sounds. Bringing a solution to locations where facilities aren't available, Remote Recording puts a fully functioning studio inside a coincidentally practical London Taxi. Designed especially for this, Remote Recording's U.S.-compatible LT introduces a small-scale option to their fleet of mobile recording trucks to service venues from the Metropolitan Opera to the Academy Awards.
As one of a very small batch of British-made London Taxis made to American standards—emissions levels and left-side driving, of course—the 2004 model was a lucky Ebay find which the company retrofitted as a studio. The iconic auto may seem like a novelty choice, but it's actually built perfectly for the alternative purpose of mobile recording. Discreet detailing and a traditional paint job keep the taxi under the radar, but the interior is anything but ordinary. The roomy cab holds everything from ProTools HD to fiber optic mic interfaces and the ability to record on up to 48 channels—plus a pair of jump seats and space for up to two engineers to operate the equipment, making the unconventional environment professionally functional.
The interior operation is housed within the distinctly plump body of a traditional London Taxi, which has become an incidental and invaluable marketing tool, drawing attention from curious onlookers and potential clients on the road. "Everywhere I go people want to know about it," says Remote Recording owner Karen Brinton. "Even in traffic people will motion to roll down the window so they can ask me about it."
Remote Recordings' London Taxi will be ready for rental in the weeks to come. Rates start at $2,500 per day, including crew (additional travel fees may apply). For more information on the London Taxi recording facility check out Remote Recording online.
- May 10, 12Communist-era woodturning from a master Czech craftsman
by Adam Štěch
American artists like J. B. Blunk, Wendell Castle and Jack Rogers Hopkins are established heavyweights in the world of design and certainly represent the "haute couture" style of woodworking, but Czech master craftsman and turner Antonín Hepnar continues to work in relative anonymity behind the former Iron Curtain from his studio in the small village of Čakovičky near Prague.
Working in the art of woodturning since the 1950s, Hepnar is a unique creative mind in a local design scene traditionally associated with glass and porcelain. According to the artist and designer, wood is the most important material in our lives. "Man is born into the wooden cradle, sits on the wooden chair his whole life, and dies into the wooden coffin," says Hepnar.
Thanks to his philosophy and love for wood, Hepnar has created various turned objects throughout his career. His vases, bowls, candlesticks and lamps, as well as large sculptural objects or realizations for architecture and interiors have been produced exclusively on the spinning axis of the lathe, a primitive and genial machine with seemingly never-ending possibilities.
Hepnar was a very productive artist during the former Communist era through the '60s, '70s and '80s, making functional and decorative home accessories for the only Czech design gallery at the time—Dílo. Inspired by Baroque, modernism and folk art, his objects represented traditional craft with a modern edge. He sold well—and very quickly—due to the lack of quality aesthetic objects available at the time.
After a series of exhibitions devoted to Hepnar in Prague, his work has become well-known and now, the master craftsman is at work once again. Next to his own re-issued editions of popular products, such as his lovely 1950s Amanita lamp, or the striking abstract owl decorative sculpture from 1983, he continues to discover new possibilities in the world of woodmaking. His latest "Bosáž" series of bowls made of very thin turned wood and deformed by steam is a handcrafted gem.
Antonín Hepnar sells his work in the Prague-based DOX by Qubus concept store.
Images courtesy of Jaroslav Moravec, Matěj Činčera, Antonín Hepnar archive and the Phillips de Pury Archive.
- May 09, 12NADA debuts its first NYC art fair with a rooftop marketplace
Popping up in Miami during Art Basel for nearly a decade now, New York-based NADA (New Art Dealers Alliance) brought the show closer to home this year. The non-profit wisely timed their alternative art fair to run alongside the NYC debut of Frieze, London's major art event that drew dealers and collectors from all over the world to Randall's Island for the first time. NADA offered a great antidote to the frenzy of Frieze, taking place in a four-story building in Chelsea that made good use of the rooftop with a Phaidon book booth, coffee shop and a showing from Artis—a nonprofit that supports contemporary Israeli artists.
Instead of presenting work in a booth, Artis hosted The Artis Shuk, a playful rendition of traditional Middle Eastern marketplaces, or shuks (also known as souks). Works from more than 20 artists were available for sale, but unlike in the gallery booths at the rest of the fair, prices were listed on small cards displayed next to each piece. Most were less than $500 and all the proceeds went to the Artis Grant Program, which awards more than $125,000 to artists and nonprofits every year.
The undeniable standout at the shuk was an untitled sculpture of a glass of Turkish coffee sliced in half by Gal Weinstein. Turkish coffee, known in Israel as "mud" coffee, is an iconic Middle Eastern image. "Coffee can act as an invitation to a conversation or as reprieve from routine. Shown using the scientific visual language of a cross section, it also speaks to the gap between the efforts to analyze the Middle East and its complex reality," explains Weinstein.
Another highlight, "Rolodex" by Zipora Fried is a real Rolodex the artist found. Fried went through it page by page and covered up all the names and numbers with archival tape, emphasizing the sense of loss that a discarded history of a person's entire network would represent. Fried's work often features covered faces as well as "drawings so dense they rebuff any illustrative meaning" and sculptures that are altered to deprive them of their functionality.
Working in a somewhat similar vein, Naomi Safron Hon seems to revel in making objects useless. "Straining, Mixing, Grating" and "Cement Grater", two of her clay-clotted kitchen tools, were on display at the shuk. Hon uses these objects to symbolize how politically-motivated creation and destruction impact our daily lives, but on a more basic level, the delightful way the clay oozes out of the implements is aesthetically quite satisfying.
"D.I.Y: Fold Your Own Skull" is a kit by Itamar Jobani that you can use to construct a 3D skull from paper or plastic sheets. The pieces come pre-cut and pre-scored—all you need is glue. Jobani didn't just want to make a cute rainy day project, he wanted to engage the buyer in a hands-on, art-making process.
- May 09, 12The new Swedish furniture line bears its own interpretation of Scandinavian design
The Scandinavian obsession with hallmarks of quality, attention to detail and hand-craft is embedded in the psyche of the region's people. Recent years have seen a return to the core ideals of its design-minded countries—Finland, Denmark and Sweden—as each redevelops its own distinct national identity. For interpretations of its native style, Sweden can now look to Stockholm-based furniture brand Snickeriet, an offshoot of the carpentry workshop of the same name. Much like fellow Swedish company Zweed, the Snickeriet collection aims to bring its designers and craftsman closer together. While the original Snickeriet will continue its existing commission business, the new venture opens up a higher level of craftsmanship to a younger audience with a zesty, provocative visual aesthetic and an unusual stand-alone approach to building a design collection.
"As a designer or woodsman you're always looking for projects outside your comfort zone," explains founder Karl-Johan Hjerling. "The workshop is at the center of everything we plan to do with the new enterprise—from concept to production, all kept in the hands of pure craft. We can let each idea develop in a very pure form, seeking solutions as the need arises and solve them in-house."
Production is handled by artisans Gunnar Dahl and Karolina Stenfelt, who have already been significantly recognized in Sweden for notable pieces for TAF architects, Byredo perfumes and Note Design's jawdropping Soot. Rounding out the Snickeriet team are Hjerling and his design partner Karin Wallenbeck, who have cropped up recently with work for the likes of Swedish stalwarts Svenskt Tenn and Acne.
In keeping with the one-off approach to its commission work, Snickeriet will create each piece as a single unit, rather than as part of a series or ongoing collection. "Advanced cabinet-making is often associated with 'older' furniture and classical aesthetics. We want to preserve this of course but also develop it and apply it to new forms of expression," says Dahl.
The initial four pieces—Havet, Frank, Verk and Fä (Sea, Frank, Work and Beast)—make expressive statements in this vein, boasting the kind of workmanship that pays homage to the roots of Swedish craft and exemplary skill while infusing each piece with an exciting, adventurous design narrative.
An undulating, tactile piece, Havet's dark exterior hides a contrasting, clean inlay demonstrating perfectly Snickeriet's old-meets-new approach. The hacked, waved exterior is as painterly as it is sculptural.
Frank offers a slightly humorous take on the cupboard, certainly not a piece for the fainthearted but one which, like the brand itself, is not afraid to wear a sleeve of hearts. Laser-cut and etched plexiglass with brass detailing straddles a clean oiled maple frame.
Slim and athletic, the suspended Verk desk plays on proportional form. Poised on sharp steel legs the Verk also shows off a contrasting inlay.
Rounding off the initial offering is Fä, the Beast lamp, which perhaps takes its name from the leather used in its construction. The richly lacquered pendant manages to convey simplicity and opulence at once.
Snickeriet launches 10 May 2012 at Nitty Gritty, which will show the pieces through the end of the month.
- May 09, 12Our latest video explores the workshop where creative minds gives classic trucks new life
For our latest video, the third to premiere at the 99% Conference last week, we drove through the desolate corridor of I-5 to the outskirts of Los Angeles to visit ICON, California's premiere builder of custom trucks. Newest in the line-up, the ICON Bronco takes the body of a classic 1970s Ford Bronco and rebuilds it from the ground up. All ICON's trucks maintain the personality of the originals but add new technology to make driving easier. We spoke with ICON founder Jonathan Ward about the new trucks, what makes his process possible and what it takes to construct a vehicle by hand in LA.
- May 09, 12Bazoombas and bananas inspire a collection of children's furniture
The childlike work of Japanese artist Misaki Kawai shuns expertise, embracing "heta-uma", an anime-derived method that risks amateur aesthetics by embracing basic expression. Her approach provides a nice parallel to the world of squirming tikes, who brim with creativity but lack the motor skills of a master painter. Furry animals, banana chairs and whimsical snake benches make up "Love from Mt. Pom Pom", Kawai's ongoing exhibition at the Children's Museum of the Arts in NYC. In conjunction with the show, select furniture and decorative elements have just been made available for purchase from Paddle8 through 10 June 2012.
Kawai employs painting, drawing, sculpture and video in her site-specific show, bringing her signature playful stylings to the museum space. The exhibition functions as a play area for museum-goers, encouraging interactive engagement from children. As part of the CMA exhibition, Kawai was able to hold workshops with students, teaching them a bit of her artistic method—a process-focused, hands-on approach that develops artistic instinct rather than traditional skills.
Highlights from the collection include an expandable, breast-themed "Bazoombas" bench and a less-than-terrifying green snake piece. Geometric color blocks and bold forms are in keeping with Kawai's other work, which walks the line between primitive abstractions and cartoon animation. The furniture, created by Brooklyn's Tri-Lox in collaboration with Take Ninagawa Gallery in Japan, is available from the online art store Paddle8 through 10 June, when both the sale and the exhibition at CMA will end. Proceeds from the sale go to benefit the CMA.
Children's Museum of the Arts
103 Charlton Street
New York, NY 10014 - May 09, 12Sex and punk elegantly balanced in the sculptural jewelry designer's latest collection
Balance is the term that first comes to mind when describing Bliss Lau's approach to jewelry design. A soft-spoken Hawaiian with a New York sensibility, she embodies a certain duality that comes across in her work. The statement-making body accessories comprising Lau's line are at once elegant and provocative, with a posh-punk aesthetic brilliantly captured this season by emerging illustrator Heather Benjamin.
Benjamin is the brains behind the lewdly funny, manga-esque illustrated zine, "Sad Sex", which Lau discovered through one of her young interns. With classical music playing in the background, Lau talked to us at her NYC studio. "I think I was interested in working with her largely because of this idea of her working with the female body and breaking boundaries with that, and then just the fearless, gnarlyness of it—it's just really powerful and fantastic," she explains.
Lau commissioned Benjamin to create a series of drawings inspired by the "Sad Sex" seductress, but that would more appropriately showcase her Spring/Summer 2012 collection. "We had this idea of this naughty girl running rampant through the city doing things like smoking, hanging out with tigers, just this idea of this magical, sexy, sort of wicked girl that has fur coats and an amazing manicure but is like totally cool and punk rock, and she does dark things but she does them in fabulous ways," says Lau.
The finely detailed illustrations perfectly capture the essence of Lau's pieces, which turn robust materials like powder-coated brass into finely crafted designs. There's a 1920s kinkiness to Lau's accessories that is obvious from first sight, but it becomes even more pronounced on the body. The armor-like weight makes you feel regal and powerful, but the delicate way the pieces lay on your skin and move with your body also provides a feeling of sensual refinement. Like the flexible "Hourglass" necklace or "Calder" bracelet, which are technically flat metal pieces that fully form around the body thanks to her clever use of vintage snake chains.
For Lau, designing to the kinetic and sculptural elements jewelry can possess is as important as the visual component. For her S/S 2012 collection, Lau was inspired by the geometric solid. She channels this concept into works that trace the body, giving masculine shapes the ultimate in female sex appeal. "In a way you're kind of engineering how a person's going to hold themselves", she explains. Lau's vision encourages bold moves but with poetic rhythm.
Lau designs to enhance every part of the body—from rings that connect to the wrist to leather pieces that draw beautiful attention to the waist. Her sculptural jewelry sells online and in stores around the world. See her website for a full list of stockists.
- May 08, 12Family trees flung all over the world captured in photos at MoMA
Taryn Simon is part bloodhound, part photographer. For "A Living Man Declared Dead and Other Chapters I - XVIII," she spent four years tracking down 18 families spread all over the world. Nine of those families, or chapters, as Simon calls them, are now on display at MoMA. Each chapter is made up of three segments, most notably a large group portrait shot yearbook-style with each family member photographed individually. "In each of the 18 chapters," Simon explains, "you see the external forces of territory, governance, power and religion colliding with the internal forces of psychological and physical inheritance." The sequence is arranged in order of the oldest living ascendants followed by their living descendants. This orderly family tree is accompanied by a short text and footnote images that add to the narrative.
This extremely organized coding system belies the complicated and, at times, even messy process of tracking down family members and getting them to agree to be photographed. Take the living descendants of Hans Frank, Hitler's legal advisor and Governor-General of occupied Poland. In addition to his involvement in setting up Jewish extermination camps, Frank oversaw campaigns to destroy Polish culture by massacring thousands of Poles, all of which he denied when he was brought to trial at Nuremberg and subsequently executed. As you might imagine, his children and relatives aren't exactly bragging about their family name, and most refused to participate in Simon's project. Those who agreed to be photographed don't exactly look thrilled to be there.
Not every bloodline is so full of holes. Joseph Nyamwanda Jura Ondijo's polygamous Kenyan family is brimming with 32 children and 64 grandchildren, courtesy of his nine wives, most of whom he met through his practice, where he treats patients suffering from a wide range of ailments from evil spirits to HIV/AIDS. Ondijo is usually paid in cows and goats, but sometimes, when a family can't afford that, they offer a daughter instead. Five of his wives came to him as patients; Three were plagued by evil spirits, one had asthma and two were suffering from infertility (they were cured and bore him children).
Reading about the Frank or Ondijo family, or about the stories in Simon's other chapters—an over-crowded, underfunded Ukrainian orphanage, for example—is one thing, but seeing the faces of these people, and in one chapter, the animals, is something else altogether. In grid form, one right after the other, it becomes not so much about the similarities among relatives in each chapter, but how they're so surprisingly unique—and depressing. Homi Bhanha notes in "Beyond Photography," his essay about the exhibition, that "a precarious sense of survival holds together the case studies...It is the extremity of such precariousness that sets the stage upon which the human drama of survival unfolds...Survival here represents a life force that fails to be extinguished because it draws strength from identifying with the vulnerability of others (rather than their victories), and sees the precarious process of interdependency (rather than claims to sovereignty) as the groundwork of solidarity. We are neighbors not because we want to save the world, but because, before all else, we have to survive it."
Simon's subjects show that struggle for survival. Even the children look world-weary. With few exceptions, every slumped figure looks irrepressibly sad. Maybe it's the bandaid-colored backdrop she used as what she calls "non-place, a neutral cream background that eliminates and erases any environment or context," that renders the emotionless faces so flat. Collectively, Simon's work sucks the energy right out of the room. Though it's true that your DNA only determines part of who you are and that the rest is your own making, the subjects here look resigned to accept the fate of their forefathers. In fact, you can't help but be touched by the overwhelming emptiness that pervades the room. Though the title refers specifically to one chapter in which a living man is declared dead on paper so that a distant relative can inherit his land, Simon hopes it acts as a metaphor for the entire show, noting that "We are all steadily heading toward death."
"A Living Man Declared Dead and Other Chapters I - XVIII" is on display at MoMA until 3 September 2012.
- May 08, 12Likeminded artisans gather in a collaborative workspace in Portland
For some people, the constant rattling of trains outside their window might be irritating. But for Beam & Anchor co-founders Robert and Jocelyn Rahm, it sounded just right. "I grew up in a small town in Missouri," said Robert. "The trains sound like home."
For years the Rahms had dreamed of opening a collaborative workshop for a dedicated community of likeminded artisans. The first step was finding the appropriate space, which they did in a beloved, but neglected, warehouse in the heavily industrial north Portland neighborhood of Albina. Surrounded by the eerie echoes of bands practicing in nearby garages and puffs of steam from Widmer Brothers Brewing the next block down, the space was theirs after eight months of persuading the owner to hand over the keys. "The owner really loved the building and didn't need the money," says Robert. "We had to convince him that we were really using it, that we'd honor it and were trustworthy."
Earlier this spring, Beam & Anchor finally opened its doors. Stepping inside is not unlike stepping inside the Rahms' home, which is understandable given that their primary goal for the space was that it should feel like one in its decor and furnishings. The upstairs floor of the two-story building houses a half-dozen "makers" and their employees, like Taylor Ahlmark and Nori Gilbert of Maak Soap Lab and Wood & Faulk's Matt Pierce, where they painstakingly craft the richly detailed soaps, furniture, bags and other goods to sell in the retail store below. Robert accents their displays with interesting vintage finds like an antique gurney from the Korean War, among others.
To characterize the space as merely a workshop and store, however, would ignore the building's animating spirit. Upstairs, an open kitchen with a large dining table serves as a gathering space, and most of the workshops are separated from each other with floor-to-ceiling curtains instead of walls—except for the wood shop, which is partitioned off because of sawdust and noise. However, even that wall has a glass viewing panel through which visitors to the building can see furniture coming together.
Some of the craftspeople, like Jocelyn's brother Bren Reis, knew the couple beforehand; Reis is a woodworker who founded Earthbound Industries. Others sought them out once word of the project spread. "Community is so central to what we do here," says Jocelyn. Robert adds, "We aimed to pick people that we would have over for dinner."
That community spirit serves as a foundation for the Rahms' plans to host community events like "maker networking" suppers and a summer music series, are underway, and there's been some interest in setting up food carts in the parking lot.
Beam & Anchor's early and enthusiastic reception belies the popular belief that creativity thrives in isolation. With support, encouragement and a constant infusion of new ideas, Portland makers have a haven in which to nurture their ideas. The best part is that the building, as a dynamic experiment, is not that difficult to duplicate. All you need is a germ of an idea and an empty building to see it grow.
- May 08, 12Ji Lee's simple plug-in removes text from any site to let images stand alone
The endless stream of information available on the web can easily get clogged with an overload of messaging. To simplify your daily surfing sessions, former Google Creative Lab Creative Director Ji Lee—with the coding help of Cory Forsyth—has come up with the Wordless Web, a simple browser plug-in that takes any website and gets rid of the text, leaving only pictures. As longtime supporters of Lee's "special projects", we were keen to see a substantial array of websites' content reduced to a context-free assortment of images with one simple click.
By presenting the Internet as a palette of pictures only, the website reader becomes a viewer. "No text means no context," says Lee. "You're free to enjoy the images in their purest form, without names, labels, definitions, or purpose. It makes the pictures we see across the web more mysterious and open to interpretation of our own imaginations."
Although we love the clean look of most websites without words, we noticed an interesting effect that the "Bubble Project" founder has exposed as a true eye-opener. While some websites benefit from being free of text, others seem to turn into giant advertising billboards. Regardless of the outcome, Wordless Web is an interesting adventure in turning something so vital upside down. Give it a go yourself at Wordless Web.
- May 08, 12Our latest video explores the machine driven approach of Oakland's denim master
Hidden on a back street in Oakland, California in an unassuming warehouse lies what may be the pinnacle of denim craftsmanship in the USA. Roy Denim, the second of our videos to premiere at last week's 99% Conference, is actually just one man, Roy Slaper, whose obsession with making jeans has driven his small business into the conciseness of denim heads everywhere. In our video we learn about Roy's machine driven approach in creating his jeans, the birth of his business and how his obsessive attention to detail results in some of the toughest, nicest looking denim around.
- May 08, 12Yan Pei-Ming captures past and present in five large-scale paintings
The first thing Yan Pei-Ming said while presenting his new exhibition, "Black Paintings" at David Zwirner was "I aspire to be an artist, period. Not a Chinese artist." Though born in Shanghai, the artist is now based in Dijon, and speaks French—not Chinese—through a translator. "My work," he continued, "does not have a 'made in China' feel to it. I've always tried to speak in a universal pictorial language."
Pei-Ming certainly has a knack for choosing subject matter with a global reach. In the past, he's gained notoriety for his large, monochromatic portraits of people like Lady Gaga, Bernard Madoff, Michael Jackson and Maurizio Cattelan. In this show, however, you won't see many familiar pop-culture faces, save for Muammar Gaddafi in the work "Gaddafi's Corpse", which is hard to discern without reading the title first. In "Pablo", Pei-Ming shows Pablo Picasso as a huddled young boy wearing large men's shoes, an imagined memory of the great painter playing dress-up, perhaps, in his father's clothing. "Exécution, Après Goya", a bright red homage to Goya's "The Shootings of May Third 1808". The show's title, says Pei-Ming, is "derived from a late series of wall paintings by Goya, since transferred to canvas. In these works, not originally intended for public view, the Spanish artist offers haunting visions of humanity's darker side."
"When Goya worked he had to work from his imagination, but in my case I'm working from documentation" says Pei-Ming, referencing the artist's historical paintings. "We're surrounded by photographs and documents that attest to what has happened and I use that as source material." Though it's doubtful that much original source material was needed for "Pablo", it's still true for most of Ming's work, including his dark interpretation of the Acropolis, which he describes as "the cradle of Western civilization and democracy." Titled "All Crows Under the Sun Are Black!", Ming mounted it first in his show, as his way of putting "it in dialogue, face to face with art in the contemporary world," he says.
"Moonlight" is another monochromatic gray painting depicting an immigration over rocky waters, illuminated by brushstrokes of white moonlight on the waves. Painted in much the same style as "All Crows Under the Sun Are Black!", it too is a landscape that features a barely discernible outpost on the dark horizon, but the Acropolis is so dark it almost fades into the feverishly painted background. If you've ever seen a picture of the Acropolis you know that it's huge and white, the centuries-old pillars standing strong on their flat-topped perch above Athens—and at night it's lit up like the Lincoln Memorial. Here, Ming has shrunk it down and killed the lights, blending it so thoroughly into the background he seems to almost be wiping it from history itself.
"Black Paintings" marks a departure in Ming's work not only from his focus on contemporary culture but also in his point of view. Instead of traditional portraiture, we see his figures splayed out, crouching on the ground or facing a firing squad. They're not only shown in scene, in a narrative, but as part of a larger historical context, one that's not pinned down to a specific moment in time. Instead of immortalizing a cultural icon at the height of their fame, Ming is depicting history in progress. He goes back in time to moments history may have overlooked in an attempt to connect the recent and distant past, and though he makes his point of view clear in the subjects he chooses to paint, those choices don't represent a distinctly Chinese or even Eastern perspective, but one that's uncompromisingly universal.
"Black Paintings" runs through June 23, 2012 at David Zwirner.
David Zwirner
525 W. 19th St.
New York, NY 10011 - May 07, 12Denmark's notoriously conceptual fashion designer in a new book spanning boobies to mint
The new self-titled book from Henrik Vibskov is a lot like his work—slightly haphazard yet cohesive; purposeful, but ultimately entertaining. Since graduating from London's Central St. Martins in 2001, the Danish designer has penetrated the regimented fashion industry with a distinct style that bucks conventionality and traditional seasons in favor of more conceptual shows and collections that reflect his artistically driven mind.
"Henrik Vibskov" the book is set up to explore these themes and his larger creative oeuvre in a natural progression, starting with a preface split between five contributors that loosely alerts readers to the collage-like layout that lies ahead. The collaborative foreword is written by Vibskov's brother Per, German professor of experimental fashion design Dorothea Mink, New Museum deputy director Keren Wong, Danish artist Jørgen Leth and Röhsska Museum director Ted Hesselbom. Together they shed a little insight on Vibskov while referencing five keywords that help define his career—"donkey", "boobies", "mint", "tank" and "shrink wrap". Before delving fully into what these words mean, social anthropologist Camilla R. Simpson offers a more serious biography in the three-page essay "The Vibskov Scenario", which is followed by an equally extensive but completely different story—novelist Jokum Rohde's "Science-Fiction Noir", an imaginary work that draws from Vibskov's various show titles over the years.
From there Vibskov takes over, detailing his career to date with randomly ordered sketches, candid commentary, inspiration shots and behind-the-scenes images of his shows and art installations (which are sometimes one in the same). While slightly confusing at first, the arrangement actually works out well and fans will enjoy how the book mimics the same sentiment expressed in his bizarre ensembles. At first glance there is a lot going on on the page, but further inspection reveals a beautiful chaos. As Wong comments in the preface, Vibskov's work is always full of contradiction—to her, he simultaneously evokes confidence and humor, and inspires performance and relaxation.
The layout also shows how his projects continue to evolve and more importantly, how many different artistic elements they incorporate. Stating in his short note at the beginning that this is a book "mainly based on visual materials", Vibskov, who is also a serious drummer, shows how his vision applies to a myriad of media. For example, an over-sized blue cardigan sweater from his A/W 2008 collection, "The Mint Institute", is featured on the page opposite his explanation of "Drumming Friday", a concept initiated in 2007 where Vibskov and musician Mikkel Hess send out a text message asking who wants them to stop by. They then hit the streets with their drums while donning blue plastic tarps. In 2009 he employed the same shade of blue in his S/S collection called "The Tent City".
Vibskov notes that in retrospective they should have named that show "The Tent City Blues", but it isn't until 20 pages later that he speaks candidly about the importance of show titles. "I think in general it's nice to have bizarre, twisted names for the collections, and actually we end up spending a lot of time talking and discussing what the name of the collection should be," he writes. After emailing around for ideas, he lets it hang there for a few weeks and typically makes the decision at the last minute, which, he says "mostly works out well".
Leaving things to chance to work out well seems like a modest understatement for the industrious designer. By allowing his imagination to lead the way and exploring fields outside of fashion, his collections are highly original and fully developed, making his one of the most honest and interesting labels to watch.
"Henrik Vibskov" sells online in Europe and soon the US from Amazon and Gestalten.
- May 07, 12Hammarhead Industries' heavy duty backpack meant for motorcycle commuting
Known best for their beautifully bad ass repurposed motorcycles, Philadelphia's Hammarhead Industries recently unveiled their newest custom creation—the HHI Day Pack. The easy to open roll top bag finds its inspiration in everyday use, designed as a "minimal bag suitable for riding and capable of holding the tools of modern life." Brooklyn's d'emploi constructs each bag entirely with American made materials, making this paired down pack your perfect no-frills bag able to take a beating and only get better with wear.
When a client asked for an all purpose bag that'd match the rugged aesthetic of his custom Jack Pine motorcycle, Hammarhead's designers realized they couldn't recommend one, so they made it instead. After dissecting over 30 old military bags to see how different materials held up over time with little to no upkeep, they decided on a 15 oz Martexin waxed cotton canvas shell partially wrapped in salvaged leather from a NYC bootmaker for support and protection. For hardware they chose an unbreakable buckle originally made to hold a parachute and nylon webbing from a racing harness manufacturer in the Midwest.
When worn the waterproof bag sits perfectly into the small of your back for a comfortable riding position no matter how heavy the load, and the nylon straps are impressively easy to adjust with a quick pull. Inside the bag you'll find a large main compartment the exact size of a full bag of groceries—or a 24 pack—and three padded pouches ideal of a laptop, iPad or notebook.
While this beast was specifically built to withstand the abuse of motorcycle commuting while avoiding the over designed look of most messenger bags, it actually works quite well as a bicycle bag as well. The lower leather side pouches are the perfect size for a medium sized u-lock and are conveniently placed in the right position for accessing miscellaneous things like lights, keys or even a water bottle. The HHI Day Pack is available now directly from Hammarhead Industries for $290.
Images by Graham Hiemstra
- May 07, 12Color-coded shopping results in an iOS app
LuxeFinds, the online luxury shopping engine for women, has produced a mobile shopping app that searches the web for lifestyle goods based on color. By taking a picture of an article of clothing or selecting a color from a color wheel, shoppers can find an exact match from LuxeFinds' massive database. The app, which launched today, aims to help shoppers match clothing to their current wardrobe and fix the common problem of inaccurate colors that tend to crop up with online shopping.
While husband-and-wife team Phyllis and Philip Cheung founded LuxeFinds as a site for women, their app caters to men and children as well with results for clothing, cosmetics and fragrances. Colors can be selected by taking a photograph, or by using LuxeFinds' color wheel and swatch selector. From there, the app returns a curated selection of items matching the selected color. Shoppers can buy, save or push the items to a number of social channels.
While color-based search options exist across the web, we appreciate the strategic application to styled shopping. The uncluttered interface is easy to use, and LuxeFinds does a spot-on job of curating the mess of items online, presenting users with a kind of color-coded luxury megastore.
The LuxeFinds "Ultimate Color Shopping Engine" is available for free through the iTunes App Store.
- May 07, 12In our latest video we visited the world's only tintype portrait studio to learn about the process and beauty behind tintype photography
In the first of four videos we premiered at the 99% Conference last week we took a trip to the Mission District in San Francisco, California to talk to Michael Shindler, co-founder of Photobooth. Photobooth serves as both a retail space for classic camera gear, a gallery and most interesting a tintype portrait studio. We talked to Michael about the ins and outs of the tintype process, and the old school methods used to create the stunning portraits.
Also check out the piece about Photobooth at 99% on the conference website.
- May 07, 12Swedish designers in Hong Kong explore sustainability as religion
It's easy to become "design blind" at the world's biggest design exhibition, I Saloni, and those rushing around to see the blockbuster names run the risk of missing the small gems hidden throughout. One such discovery for us was Boris, a Hong Kong-based company born of Swedish ex-pats trying to live as close to their suppliers and manufacturers as possible. Founders Katarina Ivarsson and Anna Karlsson started the company in 2009 and have since developed a unique style of work blending design, sustainability and technology in a way which is fast becoming the signature hallmark of Scandinavian output—even if it is based in another country.
This year the company presented its new collection, the Enlightenment Series, which explores the notions of multi-ethnicity and the part played by religion and spirituality in our contemporary lives while also focusing on sustainability. "In the light of different beliefs and with mixed religion touch points we present this series," says Karlsson. "Religion is about believing in something and this is our reason for the religious perspective—personally, we believe in sustainability and want to show this devotion in our products."
"We wanted to ask what happens when you dig deeper into the subjects of sustainability and religion from a design perspective," adds Ivarsson. "What are we actually devoted to? Consumerism or sustainism? How important are the objects around us from a spiritual perspective and can we as designers fabricate spiritual products'?"
With the symbolic collection the company has paid close attention to the sustainable details for each piece, whether through efficient energy consumption during production or proper selection of materials. Each piece follows a specific train of spiritual thought—for example, the Seven Piece Mirror centers on a number with many spiritual connotations, from the seven chakras in Buddhism, to Christianity's seven days of creation, to the more literal like the number of years bad luck you'll get on smashing a mirror. Boris gives each piece of the mirror an added aesthetic touch to tie in the design elements found in places of worship. On a more directly visual level, the rosary necklace adds its form to the Rosary Lamp, with the beads adding structure to the otherwise slack form.
The Confession Box places a modern twist on the Catholic confessional, combining traditional materials with advanced technology. "When you place your phone into the box it will automatically recharge via inductive charging while also making a backup of your information. By doing so we mimic a procedure not far from the classic ritual of lightening ones load and coming clean," explains Karlsson.
The ruffled Omikuji carpet references the fortune strips of paper left at Shinto shrines. "Inspired by the process of collecting prayers, we tied 1764 wishes together when we made the carpet," says Ivarsson.
This combination of strong conceptual narrative and more accessible aesthetic and technique attributes sets Boris apart. For more information on the Enlightenment Series and other collections, visit the website.
- May 05, 12Albanian bunkers, Michel Gondry's novel cars, state-shaped skillets and more in our look at the web this week
1. RIP MCA
Adam "MCA" Yauch—founding member of the Beastie Boys—passed away at the age of 47 this Friday following a prolonged bout with cancer. The influential music icon took his group from a garage band in Brooklyn to superstardom alongside Michael "Mike D" Diamond and Adam "Adrock" Horovitz. In addition to music, Yauch led charities for Tibetan citizens, 9/11 victims and directed several of the band's music videos.
2. Poo-powered Wi-Fi
Mexican Internet company Terra recently launched a publicity campaign that proposes to offer owners free Wi-Fi in exchange for their pooch's poo. The buzz campaign incentivizes lazy masters to keep the neighborhood clean—adding wireless minutes in exchange for pounds of excrement.
3. The World Without
Imagine a world without some of the richest and most recognizable people—celebrities, entrepreneurs, athletes. Brazilian Ogilvy did in "The World Without...", a series of infographic ads depicting what the absence of a handful of iconic figures would take away from history. Three billion less photos uploaded per month without Mark Zuckerberg, 5.3 million less people traveling by plane without Richard Branson and 121 less women claiming to have slept with Tiger Woods without Tiger Woods.
4. The Bunkers of Albania
Between 1967 to 1986 the Albanian government constructed 750,000 concrete bunkers in preparation for an enemy that never came. Located in neighborhoods, beaches, cemeteries and on mountaintops, the bunkers were never used. Now two graduate students want to convert them into hostels, cafes, and other symbols of openness and hospitality.
5. “L’Écume des Jours" Cars
Shooting has begun in Paris for Michel Gondry's forthcoming film, "L’Écume des Jours", an adaptation of Boris Vian’s legendary novel about an eccentric wealthy couple. Gondry's French-language rendition will apparently feature an array of reconstructed cars, like a Peugeot 306 where the back is now on the front or a Citroën GSA with wings on the hood.
6. Made In America Skillets
Fry up something nice in the shape of your favorite state with FeLion Studio's "Made in America Skillets". The collection features 48 hand-poured, cast iron skillets—hopefully you're not hungry for some Hawaiian grinds.
7. SWIMS + Armani
Resembling a sleek pair of smoking slippers, the new collaboration galosh from SWIMS for Armani is one to keep an eye on for fall 2012. The all-black coloring and slender profile make for a rather chic alternative to those bulky green Hunters you have but likely never wear.
8. edX
Boston universities MIT and Harvard have teamed up on an open-source platform that offers free online degree programs. With $60 million in initial investment, edX is a philanthropic effort that promises to educate a billion people and shake up higher education's profit scheme.
9. Jonathan Harris at PSFK
Identifying four ominous trends in the way we now communicate online, new media artist Jonathan Harris is seeking to provide an online space for sharing the "higher elements in people." At this year's PSFK Conference NYC, he shares the story of his life and the philosophy behind his website Cowbird.
10. Day to Night
The new series from photographer Stephen Wilkes carefully combines hundred of photographs captured in a 24-hour period to blend together night and day. His panoramic views of NYC seamlessly transition between the two distinctly different sides of the city.
11. Sisifo Light
Designer Scott Wilson debuted his first product for the lighting brand Artemide at Salon del Mobile last month. Created to re-imagine how LEDs are used in the office and at home, Sisifo's large LED disk balances precariously on a slender stake in a rather bold design statement. The light itself swivels using the base's double ball joint to shed light in a 360-degree circle, maximizing utility while minimizing its physical footprint.
12. Anthropocene
Welcome to the human era. An animation by Globaïa shows humanity's rapid takeover of the planet earth through trade routes. Sparked by new energy sources and the advent of engines, the accelerated growth has led to "the anthropocene, a time when geology is dominated by humanity, not mother nature."
- May 04, 12The conference on idea execution continues
Based on the Thomas Edison quote that "genius is 1% inspiration and 99% perspiration", we founded the 99% Conference with Behance four years ago to help inspire idea execution. As day two of this year's conference is underway, we just heard a bit of entrepreneurial insight from Jonathan Adler and Warby Parker co-founder Neil Blumenthal and are now anxiously awaiting the words of design mastermind James Victore and Radiolab's host and creator Jad Abumrad later on today. As well as the premier of more Cool Hunting Videos.
While we'll continue to be on site at The Times Center through the end of today, those out there unable to make it can follow the inspiration as it unfolds via the CH twitter feed, the 99% Conference feed or by searching #99conf on Twitter and Instagram.
- May 04, 12We talk to the master of paper, glue and glass in this behind the scenes look at the finest découpage in NYC
We always strive to discover and document the most phenomenal people, places and things around the globe but there is something extra satisfying when we find a real gem in our own back yard of New York City. In our latest video we visited John Derian who has been making découpage housewares sinces 1989. Derian, whose production facility sits quietly tucked away on 2nd street in New York's East Village, collects 18th century imagery, which he lovingly transforms into beautiful découpage pieces.
- May 04, 12Highlights from and musings on the London fair's NYC takeover
"I think of our fair as a discovery fair," explains Frieze co-founder Amanda Sharp. For the first US edition of Frieze Art Fair, Sharp and partner Matthew Slotover have taken over Randall's Island, a sprawling piece of land at the confluence of NYC's East and Harlem rivers. What began as a London-based magazine in 1991 soon evolved into a must-see contemporary art event at Regents Park in London. Now in NYC, the massive venue is teeming with curious works from a cast of well-chosen international galleries, with new delights to be had at every booth. Nude mannequin nutcrackers, neon jokes, custom-casted busts, turntable muffs—Frieze NYC is packed with innovative art.
Criticized somewhat for taking place outside of Manhattan, Frieze is worth the free ferry ride to Randall's Island, thanks to careful consideration of the venue as a destination. The Brooklyn-based architects at SO-IL have designed a 250,000-square foot serpentine tent that encourages visitors to linger and look, building out enough space to really stop and take in the art. When you need a break, there are equally alluring NYC restaurants to choose from, like Roberta's, Fat Radish, Saint Ambroeus and The Standard Biergarten.
For New York, the fair has special significance; it's a sign of a rebounding post-recession art market. In terms of timing, Frieze comes on the heels of the recently ended Armory Show, and coincides with the NADA, Verge and Pulse art fairs happening throughout the city. Sharp has lived the past 14 years in New York, and this show is in part her response to gallery owners who have been requesting a New York version of Frieze. Of the 182 galleries showing at Frieze, 46 hail from NYC.
While media attention has hyped the fair to the point that this is now being called "Frieze Week", we went along for the art. Among the standout galleries were Alfonso Artiaco from Naples, London's Sadie Coles HQ, Sean Kelly Gallery from NYC and Paris' Galerie Perrotin. Text art, floor art and neon were all out in full force, and the sprawling collection offered endless examples of new works from the best artists around.
Frieze Art Fair runs through 7 May 2012 with free ferry service running to and from the island. For those who can't make the fair, head over to Frieze Virtual New York 2012 to browse all of the galleries, artworks and artists. Find more stellar art (and captions for the above pieces) by checking out our slideshow.
- May 03, 12Nine pairs of new shades from international designers both known and new
This season's round of eyewear collaborations has brought some of the brightest yet. Well-crafted frames with distinct fashion sensibilities are coming down the pipeline, along with unexpected but welcomed creative match-ups and revivals of yesteryear's iconic brands. Whether straight from the runway or made for fun in the sun, these nine pairs capture the essence of sunglasses and the upcoming summer season.
A Bathing Ape + Sunpocket
Sunpocket enjoyed massive popularity—on and off the slopes—with its foldable sunglasses during the 1980s. The formerly French brand was relaunched last year in Sweden, in sync with growing interest in vintage and niche shades. Gaining a bit of street cred, Sunpocket collaborated with A Bathing Ape for a limited-edition release in matte army green and polarized lenses. Order them from Zozotown for ¥11,340 ($142).
Barton Perreira + Giovanni Ribisi
The current face of Barton Perreira, actor Giovanni Ribisi graduates to co-designer of two styles for the optical label. Lending much more than his name, he submitted his own 3D renderings of the designs. The Ribisi is a modern-vintage take on the round frame with its sleek lines, classic acetates, and mineral glass lenses. (The other style, the Giovanni, will hit stores later this year.) In stock at Context Clothing for $480.
Richard Nicoll + Ksubi
Deflect the sun's rays and stares with cool detachment in these mirrored shades from Richard Nicoll and Ksubi. The frames' metallic matte finish and coordinating lanyard add an extra dose of flash. A part of Nicoll's spring 2012 women's collection, they'e inspired by "L'Enfer," the never-completed French cinematic masterpiece. Available soon from a selection of to-be-announced stockists for around $340.
Mauricio Stein + ASOS
British online retailer ASOS recently unveiled its collection with Mauricio Stein, a Brazilian eyewear designer noted for his offbeat label, MauStein, and numerous collaborations. Starting at $82, each pair—like this one with teardrop-shaped lenses and cutout detailing—has the eccentric stylings of boutique frames without the sticker shock. Visit ASOS to purchase.
Finger in the Nose + Vuarnet
Parisian kidswear brand Finger in the Nose teamed up with France's Vuarnet to create stylish sunglasses for children. The result: scaled-down versions of Vaurnet's best-known shades just in time for summer. This includes the Cateye, as worn by ski racer Jean Vuarnet during his triumphant run at the 1960 Winter Olympics, and the Surfer, pictured here in gray tortoise. They sell from Finger in the Nose webstore for €114 ($151).
Eyebobs + Iris Apfel
Interior designer and all-around fashion icon Iris Apfel is unmistakably recognizable in her larger-than-life spectacles, so her partnership with Eyebobs makes total sense. The generously oval-shaped Iris takes after Apfel's trademark frames and comes in three colorways and standard polarized lenses. At $99 through Eyebobs, the sunglasses are also priced to benefit Lighthouse International, a nonprofit supporting those suffering from vision loss.
Zac Posen + Illesteva
Perhaps Illesteva's sunniest collab to date—as well as designer Zac Posen's first venture into sunwear—these shades have created a buzz with their unabashedly retro, ready-for-the-beach vibe. Here in leopard, the cat-eye silhouette is a can't-miss homage to the 1960s, a style Illesteva had a hand in making popular. Rumor has it they will appear at Colette, Opening Ceremony, and directly from Illesteva for $300.
Giles + Cutler and Gross
British designer Giles never shies away from the playful in his line of womenswear. He goes full-tilt extravagant with the Sonic, nodding to "a Victorian mechanical silver swan" and cygnets. Like every pair from Cutler and Gross, the hand-cut acetate fronts and temples are tumbled in a barrel for several days for just the right amount of smoothness and edges. Cutler and Gross has the sunglasses for $525.
Kris Van Assche + Linda Farrow
It's hard to keep tabs on all of the Linda Farrow designer collaborations out there. From the look-at-me outrageousness of Jeremy Scott to the spare sophistication of the Row, the resurrected eyewear company has become a go-to collaborator for hip fashion labels. For Kris Van Assche's current men's collection, bold experimentation meets understatement in the form of a subtle oil-rainbow effect. For a list of retailers visit Kris Van Assche directly or see them now at Linda Farrow's e-shop for $516.
- May 03, 12Sixteen songs to get you ready for longer days and warmer nights
As we've found out the hard way in NYC, spring can often be an unwelcoming start to summer. Sunny one minute and raining the next, the juggling of temperatures can really drag down any premature warm weather celebrations. So while you're still deciding on when to pack up your winter wears, we've pieced together the following playlist to pay tribute to the ups and downs of the spring season. Starting with Grimes' catchy ode to new beginnings and rounding out with Sleigh Bells' solemn salute to what we hope is the end of those dreary winter days, the following 16 songs will have you ready for days in the park and brews on the stoop.
- May 03, 12Day one of this year's conference on idea execution
Today marks the first day of this year's 99% Conference, our annual ideas-focused event we co-founded with Behance four years ago. For the 2012 conference we're looking forward to hearing from inspirational speakers like design legend James Victore, co-founder of Warby Parker Neil Blumenthal and StumbleUpon founder Garrett Camp, to name a few, as well as events, workshops and an exciting round of Cool Hunting Video premieres.
While we'll be on site for the next two days, those out there unable to make it can follow the inspiration as it unfolds via the CH twitter feed, the 99% Conference feed or by searching #99conf on Twitter and Instagram.
- May 03, 12We check out the NYC of Israel with local fashion blogger and cultural maven Eyal de Leeuw
Head of External Relations at the Design Museum Holon just outside Tel Aviv, Eyal de Leeuw is not only a natural tour guide, but as co-founder of Israel's leading men's fashion blog Ha-Garconniere, he is clued into some of the most interesting city sights and the latest in urban night life. I met de Leeuw last month during Holon Design Week, and the former cultural attaché kindly took me around during what little down time we had. Here are his top seven must-sees for the city often dubbed the NYC of Israel.
Rothschild 12
Located on the well-known Rothschild Boulevard, the multifunctional Rothschild 12 is anything and everything you want it to be. For the morning it's an excellent cafe to see and be seen and then later on a nice bar for an early afternoon drink. At night it's a lounge-like music venue hosting a weekly lineup of young Tel Avivian bands and DJs. The best thing is you can always return to fight the hangover with a lovely weekend brunch.
Har Sinai
After Uri Lahav opened this nonchalant bar last year, Har Sinai became the ultimate hangout for both the hipsters and those who reject them. Before going out for a night of clubbing or at the end of a long working day, Har Sinai is a place to listen to great music and to find refuge in a small bar behind the largest Tel Aviv synagogue.
Cheesecake
Cheesecake is a party line led by talented musician (and local star) Assaf Amdursky and wiz-kid Oren Marzam, hosted every Thursday at the Breakfast Club (as well as Milk, its sister club next door). A small and intimate party line, Cheesecake throws together international DJs, amazing energies and a great photographer who captures the hippest of Tel Aviv's gay-friendly crowd.
Joz & Loz
Laid back yet delicious, shabby-chic yet sexy, tranquil yet hectic—Joz & Loz has become one of the city's best hangouts, attracting clients from the creative industries. The restaurant is the perfect place to enjoy a fresh and even poetic menu with secret performances by local musicians and long nights under the Mediterranean skies. Don't forget to order a Noga, the special house drink.
Hotel Montefiore
Every city needs a boutique hotel to host elegant guests from abroad for a lovely weekend. Enjoy a fine French-Vietnamese dinner and have a drink at the bar, where they serve the finest dirty martini in town.
Sommer Gallery
With the absence of a serious center for contemporary art in Tel Aviv, many young and exciting art galleries have began opening up around town. Sommer Gallery has made an international name for itself by creating a new voice for the emerging Israeli art generation. While the main gallery shows an array of established local and international artists—such as Yael Bartana, Adi Nes, Darren Almond, Thomas Zipp and Wilhelm Sasnal—a smaller space in the gallery is dedicated for budding curators and artists.
Verner Boutique
Situated in the south of the city, Verner Boutique is a good stop on the way to the Jaffa flea market. The shop carries labels such as Maison Martin Margiela's MM6 line, Acne and Alexander Wang, as well as Israeli jewelry designers.
Design Museum Holon
Eyal was too modest to include Design Museum Holon, but I can personally attest to the fact that it deserves an extended visit. Designed by Ron Arad, the exterior alone is worth the trip. After the "Designers Plus Ten" exhibition closes later this month, Yohji Yamomoto will take over the main gallery until 20 October 2012.
- May 03, 12Show support for two new supportive undergarments
Kickstarter helps get an array of independent endeavors off the ground every day. While many of these entrepreneurial projects revolve around the arts, we recently found two creative minds using the funding platform to up the underwear game. Each with a different motive, both JoeyBra and Flint and Tinder aim to enhance our lives with a new take on the ubiquitous undergarment. Check out the "kickstapants" projects below.
A concept sure to be a hit among ladies who love to go out and dance or go for a run, the JoeyBra gives women the advantage of a hidden pocket in their bra. The small side compartments are big enough to fit an iPhone, but the elastic seams keep it all conveniently secure. The JoeyBra is the brainchild of two business students at the University of Washington who will use the funding to first create an adjustable sexy push-up style with a sports bra to follow.
Former FHM Magazine editor and Buckyballs founder Jake Bronstein would simply like to bring men's underwear production back to the US. His idea is Flint and Tinder, a line of premium Supima cotton skivvies made in a family-run factory. Comfort and function are key components to the three styles in his collection, but another driving force is job creation—for every 1,000 pairs sold, one full-time job is generated.
- May 03, 12Refashioning scrap material into uniquely meaningful works of art
Accompanying a growing awareness of the wastefulness underlying the modern global economy, a new approach to art has flourished in recent years, one dealing with the repurposing and utilization of materials discarded or viewed as useless. Written by street art commentator Tristan Manco, the new book "Raw + Material = Art" delves into these techniques and philosophies by exploring the works of 38 artists using low-tech, low-cost media and methods. The selected artists provoke thought on both subject and medium, and continue to push what's possible by working at "the raw edge of contemporary art."
Spanning old skateboard decks to plastic children's toys to teabags, the works highlighted in "Raw + Material = Art" have a dual purpose. In an age of digital production and computer-engineered perfection, they signify a back-to-basics approach, bringing a new respect to the cultivation of a craft. Through their choice of materials, artists also convey a message of awareness of our environment and the resources we use or abuse within it. Although often indebted to past artists, notably Marcel Duchamp, the raw art displayed in Manco's book is a response to veritably modern phenomena.
"We take it for granted these days that art can be made from any substance or object...it is not surprising in itself if an artist presents us with a work made from unusual materials" writes Manco in his introduction. "However, even if we anticipate spectacle, we can still be struck by such a work." The works Manco focuses on transcend mere gimmickry, working within unorthodox media without being tied down by them.
The book's layout is fairly straightforward. Listing the artists alphabetically, Manco provides an insightful background for each alongside a generous allocation of large, color photographs. Locations range from Rio de Janeiro to Tokyo, giving a comprehensive portrait of the fittingly global expanse of a scene that deals with the detritus of globalization and mass production.
Artists include AJ Fosik, who constructs technicolor creatures out of hundreds of individually shaped pieces of plywood, Dutch artist Florentijn Hofman, who, often working with scrap materials such as shrink foil, salvaged wood, or flip-flops, erects large animal sculptures in public areas, and Brooklyn-based Mia Pearlman, who carves intricate "cloudscapes" out of sheets of paper.
Several artists previously featured on Cool Hunting also make an appearance in the book, including Gabriel Dawe, who creates prismatic structures out of miles of colorful thread, Ron van der Ende, whose modern bas-relief work is done in recycled wood, and Brian Dettmer, who carves intricate sculptures by carefully peeling away layers of the pages of books.
"Raw + Material = Art" is available for purchase on Amazon and from publishers Thames & Hudson.
- May 02, 12The legendary designer on art and design, working with a rock star and staying fresh after 20 years with Kartell
Known nearly as much for his confident and quirky personality as for his innovative use of single mould injected polycarbonate, Philippe Starck has spent the last few decades changing the norm in product design. From an alien-like lemon juicer for Alessi to organically-inspired sofas for Cassina, Starck has expanded minds with innovative—and sometimes questionable—designs as one of the most prolific designers in contemporary culture.
While in Milan for Design Week we had the rare chance to catch up with the "über designer" himself during the debut of his latest collection for Italian furniture brand Kartell. Standing among a sea of cameras and curious fans, Starck reflected on his history with the iconic brand, working with a rock star-turned-furniture designer and the relationship between art and design.
After roughly 20 years working with Kartell, how does one continue to find inspiration?
Kartell is not a company, it is a philosophy. Thirty years ago I had this intuition that the future must be democratic, and I invented the idea of democratic design. Which is rising the quality, cutting the price and trying to give it to everybody. The only weapon, the only tool I found to do it was monolithic injected plastic. Twenty years ago it was not easy and the only company that had this philosophy was Kartell.
That's why today everybody says that this booth is the center of the fair. Yes, it is because we deserve it. Because 30 years ago, even before the family of Claudio Lutti, Kartell had this vision. And I can tell you at this time it wasn't very fashionable to speak about injected plastic this way—it meant cheap, bad things for low people and things like that. We had the courage to built a real proposal, a philosophical proposal, a political proposal. And finally we won. Because we are now at the beginning of the decline of Western Occidental civilization. People have less money but still want quality because we know what is quality, it's difficult to change. And we must reinvent ourselves and reinvent our new economy of poverty. And Kartell is in the right place to do it.
Speaking of reinvention, we recently spoke with Lenny Kravitz about his collaboration with you and Kartell. Can you tell us a bit about how it all came about?
Lenny is a friend of my daughter's and finally after years she introduced me and we became friends. One day Lenny told me 'I want to become an architect, a designer'. I said Lenny you are smart, very smart. When I see your different houses I am very impressed. Perhaps you can become a designer, become an architect. That's why I brought him into the new SLS Miami Hotel and I brought him to Kartell. And you know where the design is boring him. You have thousands of models here and it's always the same proposal—the same angle of view. Lenny can bring the fresh air of the night. Designers, we are from the day. He is from the night. We wake up at seven, he goes to sleep at seven. That changes the angle of view. We shall see. He is a young designer, he starts today. He has to work, so we shall see. But he is in a good position, he is very very smart.
How do you feel about the transformation of your work through the materials he chose?
It's him. You know I don't want anybody to tell me what I have to do. I don't want to tell Lenny what he has to do. We gave him a chair. We gave him a nice opportunity to play with it and make what he wants. It's life, we have to keep his freshness in mind.
Do you find bringing younger people into your office helps to keep your design fresh?
Not the design. The life. Myself. I don't try to be young, I try to be timeless. And to work with young people, to be married with a young beautiful wife, to have a young baby of 10 months—that makes me timeless, because I'm old now. That makes a difference. For example Friday morning we leave and Friday at noon I will be at my table working like a devil.
This liveliness and a lack of a strong geometric presence seems to shine through in your latest candlestick design, Abbracciao. What else inspired its form?
I've never just been about strict geometric, I've been known even more for organic lines. I have enough imagination to make both, or more. But this candle piece I made with Maggiar is about the magic of love. Because if you see the two pieces alone they cannot stand up, but together they make an art piece. This is about love. That's why we decide to do it and I thank Maggiar for bringing this very nice idea, this very iconic and simple idea.
You referred to Abbracciao as an "art piece" just now, for you is there a difference between art and design object?
Clearly, it's not the same word. It is not an art object, just a symbol of love. I am not an artist. I am just trying to be a designer, but it is not enough. And I'm not sure that the confusion now between art and design is very good for design. It is very good for art, because they have nothing more to say. But in design, finally we are more rich than in art.
- May 02, 12Kawaii cuteness and "Bronies" in a month-long LA exhibition
The magical world of My Little Pony (MLP) brings delight to everyone from school-age girls to grown men (we're looking at you, "Bronies"). This weekend the My Little Pony Project 2012 will debut at LA's Toy Art Gallery with customized 18" ponies, jewelry by Onch Movement and a month-long celebration of the super cute kawaii world of MLP with an art show, mural project, screenings and events.
My Little Pony was created by illustrator Bonnie Zackerle in 1983 as the smaller version of Hasbro's original 1981 My Pretty Pony design. Little girls immediately fell in love with these small, colorful plastic ponies featuring silky hair and whimsical designs on their hind legs and hoofs. The original set of MLP characters sported names like Cotton Candy, Clue Belle, Butterscotch, Minty, Snuzzle and Blossom. As the popularity of the toys grew, so did the My Little Pony world. In 1984, their first prime-time special "Rescue at Midnight Castle" led to more specials, a TV series and a feature-length film aptly named " My Little Pony: The Movie".
Hasbro celebrated the 10th anniversary of their favorite equines by debuting Sweet Kisses, Colorswirl, Sippin' Soda, Wedding Pony, Flower Fantasy and more. Now, nearly 30 years later, the brand is still going strong thanks to an alternative scene that continues to worship the pastel ponies. Customized toys have sprung up around the globe, transforming MLP into everything from horror film icons to Star Wars characters. Even fetish imagery was branded on the plastic ponies. My Little Pony is a major force in pop culture, spawning trans-generational obsession evidenced in the endless stream of MLP tattoos.
For more proof of MLP domination, a search for My Little Pony on Etsy yields over 4,000 results and Deviant Art boasts hundreds of thousands of MLP-inspired artworks. Many a Brony—the brilliant mash-up of "brother" and "pony"—could be found at the recent "My Little Pony: Friendship is Magic" show, saying they're attracted to the pony's colorful imagery and positive messages.
The My Little Pony Project 2012 kicks off its exhibition in LA with a series of events presented by Hasbro, We Love Fine, LA-based design firm Mighty Fine and Street Sweets. The show features one-of-a-kind customized ponies by 6%DOKIDOKI, 64 Colors, Ana Bagayan, Angry Woebots, Blamo (Mikie Graham), Lisa Alisa, Luke Chueh, Madoka Kinoshita, Martin Hsu, Perez Hilton, Spank!, TOUMA and more. Ten percent of the sales will benefit Give Kids the World, an organization that gives children with life-threatening illnesses the opportunity to take a vacation to a fantasy-filled resort with their families.
Coinciding with the show, Onch Movement—the pop culture icon and jeweler who creates Nicki Minaj's over-the-top treats—will launch an MLP line alongside his existing collection of colorful novelties. Onch created these new pieces for the Bronies and Pegasisters (the term for women who love MLP). As Onch enthusiastically proclaims, "We are trying to take the pony to another level!"
The show opens 5 May 2012 and will be on view at Toy Art Gallery until 26 May with events for fans to meet special guests from The Hub TV's "Friendship is Magic", a family day with crafts and face painting and cupcakes, and a screening nearby at the Silent Movie Theater (where at least a few Brony's are sure to show up). Also beginning the week of 5 May, Buff Monster, COPE2, Indie184, and other artists will be busy painting MLP-inspired murals at Joyrich and De La Barracuda near Toy Art Gallery on Melrose.
The original 18" ponies will be available in the Toy Art Gallery online shop.
Toy Art Gallery
7571 Melrose Avenue
Los Angeles, CA 90046 - May 02, 12Preparation begins for MoMa PS1's new air-scrubbing nylon star
by Francesca Giuliani
The nylon air-cleansing concept that won MoMa PS1's 2012 Young Architects Program, Wendy is now set to grace the Long Island City museum's courtyard during the forthcoming summer months. Designed by New York-based architecture firm HWKN, the project aims to test the potential of architecture for ecological and social impact. Treated with a innovative titania nanoparticle spray to neutralize airborne pollutants, during its time at MoMA PS1 Wendy is projected to eat a quantity of smog equivalent to removing 260 cars from the road.
The website features a video preview of the final installation, demonstrating Wendy's ability to interact with its surroundings through blasts of cool air, mist, water cannons and music.
HWKN is seeking a host of volunteers to help bring the sustainable structure to life. For those wishing to contribute to Wendy's assembly between 15 May and 26 June 2012, a volunteer application is available on the website (non-architects are welcome).
Wendy's website also offers the opportunity to buy t-shirts and totes created by designers 2x4, Bruce Mau Design and Pentagram. Coated in the same titania nanoparticles as Wendy, the shirts and bags will expand the nylon star's air-scrubbing action beyond PS1's courtyard.
- May 02, 12Organic liquor blending tradition and innovation
It's not a new product, but for the first time Art in The Age of Mechanical Reproduction's signature liquor, Root, is available outside of creator Steve Grasse's home state of Pennsylvania. Art in The Age, which hosts a retail store in Philadelphia, is a brand named after Walter Benjamin's landmark 1936 essay, "Art In The Age Of Mechanical Reproduction," the themes of which Grasse tried to incorporate into everything he produces, "Emphasizing a pre-industrial ethos, before mass production turned everything crappy", he says.
As a man who prefers gin martinis or straight whisky over flavored liquors, Root surprised me with its layered, complex flavor. It does make everything taste like root beer, and the fact is if you don't like sugary things you won't like Root. It's sweet—in fact I joke that it is what a 14-year-old would drink to get drunk—but it is also 80 proof, old-timey, and delicious.
Grasse, a principal of the creative agency Quaker City Mercantile, is the creator of Hendrick's Gin and Sailor Jerry rum. After he sold those brands to William Grant and Sons (they own Glenfiddich and Stoli, and are now partners in Quaker City Mercantile) in 2006, he was looking to challenge himself. "I wanted to come up with something that doesn't fit into any category and is in the plainest possible bottle. I wanted to purposely handicap myself," says Grasse.
What he developed was Root. Using American herbs, including anise, birch bark, cloves, spearmint and cardamom, he distilled a certified organic spirit based on root tea, the recipe for which goes back to the 1700s. "I thought it would be interesting to create something that was Authentically American," he says.
"I read about root tea and how it was a small beer, that's a beer with low alcohol content," he says. "Charles Hires was the one who took the alcohol out of root tea and rechristened it 'root beer'. I was inspired by the root tea story. I decided to make it way more alcoholic, but use those same ingredients." But the goal was also to create something personal - growing up in Pennsylvania Dutch country, Grasse had always loved root beer. "Spirits tend to have these wild stories of origin based on exotic places. Some of the weirdest, most exotic people I know live in Lancaster county."
His distributors were skeptical. "They said, 'No one will buy this. No one will find it in the store. It doesn't taste like anything out there.' I told them, 'People will discover it.' The fact that it doesn't taste like anything else will be the story."
Instead of paying bars and bartenders to push the stuff, Grasse went grassroots. He placed Root at farmer's markets, where he would lay out the herbs for people to smell, and have samples in which people could dip bread to try it. He sponsored a chili cook-off and worked with the Pennsylvania Historical Society. "I said, 'I want the fat civil war enthusiast who plows through a bottle of scotch a day to love it. And they will. They'll take it to their dinner parties and they'll talk about it'," says Grasse. He also put all his focus on getting the stuff into liquor stores, not bars. "Usually a brand is launched entirely in the bars, with mixologists," he says. "The industry is ripe to be fucked with. It's like payola. They get the bartenders in their pocket."
His efforts seem to have paid off. Root is spreading throughout the US, and Grasse has since rolled out Snap, a ginger liquor, Rhuby, based on rhubarb, and Spodee, a high-alcohol, herbed wine distributed in milk bottles. For Grasse, a history buff, the joy is in producing something traditional, and American, but also in doing something truly different, and messing with the system.
"How many more vodkas or rye whiskeys can there be on the market?" he asks. "New vodkas have become parodies of themselves."
- May 02, 12Daring design in the form of American white oak and marble composite seen at Milan Design Week
There is always an abundance of innovative production techniques at Milan Design Week, though we saw few that rivaled the exquisite craftsmanship and unconventionality of Studio Thol's Bathtub. Dutch designer Thomas Linseen beautifully showcases the skeletal structure that gives the tub its shape, and the sculptural tub explores the limits of fiber-reinforced plastics and molded wood with its laminated strips of American white oak and a polyester and marble composite (which Linseen also developed).
By adapting the wooden frame's shape from a Craftsman-influenced lounge chair, the tub lends a familiar feeling not often felt while submerged in water. During the tub's construction process the inside surface is wrapped in fiberglass matting and filled with water, allowing the semi-malleable fiberglass to distend with liquid and subtly expose the skeletal wooden frame. Once the matting has taken shape the water is drained and a layer of marble composite is laid in its place. When it hardens the wooden frame skeleton is accentuated, "as you can see bones through skin."
A continuation of Linssen's 2006 graduation project from the Design Academy Eindhoven, the bathtub is now ready for production. Each handmade tub sells for €12,000 and takes up to two months to build. For more information on Linssen and his artisanal designs contact Studio Thol directly.
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