The history of creation ala 8-bit video games!
This Is It is a London film collective that make the great handmade-style films. Don’t Hug Me I’m Scared is one of their latest, and uses their arts and crafts aesthetic to make a hilarious mock-children’s PSA about creativity. It’s delightfully nihilistic, self-aware, and taps into something all of us have probably felt in any sort of Creative endeavor, namely that “creativity” isn’t just the purely positive act that popular culture makes it out to be. This is one you need to watch to the end, it’s 100% worth three of your minutes. Full video after the jump!
Jennifer Cronin’s narrative paintings create an absurd mythology of the seemingly banal where anything (and sometimes nothing) can happen.
Friend and past-professor Aaron Meyers created this amazing project on his free-time. It allows you to map YouTube videos onto an interactive 3D cube and then save it to a database so you can show your friends. As you spin around a YouCube, the sounds of the different videos fade in and out. Its seriously amazing. My video is the last on the list but the first one to be created during the trial run… its called ‘Hamster Wheel’, so look for it! Aaron’s also worked on the awesome Radiohead video House of Cards. You can see more of his projects after the jump.
Currently showing at our favorite nearby art gallery/Japanese-maid-themed-cafe/store, Royal T in Culver City, CA, is “I Can’t Feel My Face,” curated by New York artist KAWS. As the website says, “I Can’t Feel My Face shares its title with a painting by KAWS and is a centerpiece of the exhibition, which explores the theme of contemporary portraiture as a vehicle of inherent emotive expression.” The show features work from over 25 artists, including Carol Dunham, Misaki Kawai, Hideaki Kawashima, Ted Mineo, and Takashi Murakami.
Check out Tom Littleson A.K.A Dilly’s brutally beautiful portraits. They give new meaning to Beautiful/Decay.
If you don’t want to shout “FUCK CHEVRON & TEXACO” at the end of watching Crude I’ll give you a dollar. I’m disgusted by yet another example of greedy corporate companies taking advantage of the innocent and the poor. Okay I’m done venting. Here is what Crude is about.
Three years in the making, this cinéma-vérité feature from acclaimed filmmaker Joe Berlinger (Brother’s Keeper, Paradise Lost, Metallica: Some Kind of Monster) is the epic story of one of the largest and most controversial environmental lawsuits on the planet. The inside story of the infamous “Amazon Chernobyl” case, Crude is a real-life high stakes legal drama, set against a backdrop of the environmental movement, global politics, celebrity activism, human rights advocacy, the media, multinational corporate power, and rapidly-disappearing indigenous cultures. Presenting a complex situation from multiple viewpoints, the film subverts the conventions of advocacy filmmaking, exploring a complicated situation from all angles while bringing an important story of environmental peril and human suffering into focus.
In her series, Impressions, Scout Paré-Phillips’ uses flesh as her medium by photographing the imprints left from inviting undergarments. Through an almost monochrome, yet warm and familiar palette, her photographs are simultaneously quiet, yet demanding. At first glance, the images seem to display an act of seduction; they document marks of ghost articles of clothing worn for, most likely, the purpose of creating allure. However, with further reflection, the work runs deeper, having a softer, more reflective meaning. These impressions, are, perhaps, the physical representation of emotional indentations, or the struggle of vulnerability versus dominance during the act of sex. The fragility of one’s skin cannot help but to mimic the fragility of one’s state of being. She displays slight imperfections on otherwise flawless, blank-canvas-reminiscent flesh. Impressions, the marks made on us over time, whether they be permanent or fleeting, are what make us the intricate beings that we are. The artist speaks of the work in terms of the skin of a lover. She states:
“Their skin is sacred; it is the most honest container for these people that we love, sharing with us the timelines of their lives through birthmarks, scars, blemishes, tattoos, wrinkles, bruises, and even the marks left behind daily from their clothing. It is what we covet in our lovers, and what we abuse for our pleasure.”
The photographer, musician and model, Scout Paré-Phillips, is quite prolific in her making. Her multidisciplinary body of work culminates in the foggy, slight margin that exists between innocence and cognizance. She has somehow found a niche outside the realm of binary and has created a theme that functions in paradox. Being quite young herself, the artist’s work can be explored through the lens of coming into an awakened adulthood. The work seems to be bound by the true intricacies of emotional falsities and the strange balance between darkness and light that is the essence of being human.