Preparing for the 24 Hours of Le Mans race, is a round the clock job. Mr. McDreamy Patrick Dempsey found this out for himself as he prepared to race on Porsche’s team. Porsche’s clever video features Dempsey and his racing partner Patrick Long and follows them on their final preparations over the 24 hours before the race at their little chateau in the middle of France. Practice makes perfect so these two are always prepared for a driver change whether it is at the breakfast table, in the study, or even in bed.
Kyle Thompson is the artist behind these haunting photographs. His image are darkly surreal, seemingly caught in the middle of a or sinister or tragic situation. An autumnal palette adds a slight chill to each scene. What may be most surprising about the work, though, is its creator. Thompson’s biography states that he’s only been photographing work since he was 19 years old – the young photographer is now only 21! Further, Thompson is a self-taught artist with no formal training.
Hungarian photographer Bence Bakonyi‘s series Dignity is a clearly personal one. The white arctic-like landscape is contrasted against deep black fields. The inky pools seem to be light swallowing and even begin to envelop a figure in some images. Bakonyi’s photographs are intensely lonely. Referring to the series, he speaks about a distinction between the body and mind as expressed in the photos.
Speaking about struggles between the two he relates, “It’s so alluring, sometimes as if the will of the body would want to swallow me, leaving my thoughts behind, but then comes the soul to pull me back.”
At 13 Mark Cloud tried acid in Santa Barbara, an experience that merited the epic summation: “I was blind, but then I could see.”
It wasn’t until then, around 1968, that acid imagery became popular and McCloud started collecting and cataloguing the many acid stamps he encountered.
“At first I was keeping them in the freezer, which was a problem because I kept eating them,” McCloud explained to VICE, “but then the Albert Hofmann acid came out, and then I thought, Fuck, I’m framing this. That’s when I realized, Hey, if I try to swallow this I’ll choke on the frame.”
Today, Mark McCloud is the world’s leading collector of “Blotter Art” (the fancy way of saying that he collects the small, stamp-like papers that used to transport acid, or LSD). McCloud’s collection, one that is bigger and more varied that those owned by the FBI and DEA, is now hanging in his Victorian home in San Francisco- a home turned museum that you should definitely visit!
Artist Li Lihong expertly juxtaposes two familiar but disparate sets of imagery. He renders familiar corporate logos as three dimensional sculptures. However, these are more than just sculptures. Li uses traditional ceramicist techniques coupled with Chinese iconography. The pairing of traditional and contemporary, East and West, corporate and fine art isn’t such a violent clash one may expect. Rather, the over arching familiarity, through from contrasting sources, is nearly complimentary.
Since early cinema, The Bronson Caves in Los Angeles have been used as a film location, appearing in Science Fiction (“Invasion Of The Body Snatchers“) and western movies (“The Searcher“) and many television shows.
Photographer Brice Bischoff used the caves once again as a stage set for his series Bronson Caves, creating technicolor ghosts created with colored paper and long exposures. Make sure to Visit Brice’s blog to see some film stills of the caves in various movies from 1932 to present.
Bianca Stone’s poetry comics are funny, raw, and endearingly sad. Because You Love You Come Apart, her latest collection of surreal illustrations are born from and combined with her own original poetry, published by Factory Hollow, an indie press out of Hadley, MA.
Stone’s blunt tethering between youth and adulthood travels by waves of sorrow and astute blitheness into our darkest nights. For instance, her lines of poetry range from “The crazy, absent fathers, all breaking wind in a fire” to “but this is also your life made with your clumsy hands” and merge with a messy scratch of passionate drawings to gutturally expose a ripcord above our own tired hearts. With each image/text juxtaposition, the need to tug grows harder and tougher, encouraging more half-wounded narratives to release.