Father John Misty performing at the FYF Fest August 2, 2012
Father John Misty, aka Josh Tillman left Fleet Foxes in January of 2012 to the disbelief of many fans, myself included. I personally thought he was crazy, I mean he’s been releasing excellent solo albums as J. Tilllman for years, but why would he leave such a successful band like Fleet Foxes? When I first heard his new record Fear Fun under the moniker Father John Misty, I knew why. The album which he produced with Jonathan Wilson is amazing from start to finish and is definitely one of my favorite records of the year. He for one has always stated that he was just a hired hand for Fleet Foxes and just learned the drum parts for their songs.
With his dry sense of humor and imposing stage presence, he stole the show from many an act he was performing with, he definitely stole the show at FYF Fest 2012. I remember Kevin Bronson from Buzz Bands LA telling me after his performance, “he’s like Dean Martin“, which I thought was a perfect compliment. The singer is just hilarious and can rival many a stand-up comic with his quick witted comebacks to any fan that makes a comment out loud while he’s performing.
His humor also extends to his website calling his upcoming tour dates, “Opportunities to Capture Cell Phone Footage of a Live Rock Show You Went To”. Yes, he’s heading back on the road in 2013 with some headline dates as well as support for The Walkmen, before heading to Australia. Tickets are available for all shows including his last show of the year on Dec. 29th at the El Rey Theatre in Los Angeles via Ticketmaster.
Also check out his video for “Hollywood Forever Cemetery Sings” which his website describes as the following, “In this 3 hour experimental film, Aubrey Plaza reprises her career-defining role as Duncan Splays, a retired bounty-hunter and casual naturalist.”
With simple masking tape, photographer Robert Chase Heishman transforms everyday spaces into flat, geometric scenes. This effect creates an illusive new space, redefined by new boundaries. Whether the tapes’ colors are bright or more subdued, the effect is stark. He creates new shapes within the photograph, or uses the tape to create a framed effect for the photograph. If the photographs were stripped of tape, the photographs would be a bit dull. By adding the tape to some of his scenes, Heishman creates the effect of a lost dimension. Because his designs are so thoughtfully shaped, it takes more than a glance at these photographs to recognize that the tape has been placed onto the scene and not the photograph. When he’s not masking his surroundings with tape, Heishman also works with video and sculpture to explore similar themes like peripheral vision, flatness, and digital affect. He lives and works in Chicago. (via from89)
A few weeks back I headed over to the studio of painter Alison Blickle. You may remember Alison from a previous post as well as her killer contribution to book 3. Alison recently moved to LA , with a studio down the street from the B/D office so I thought i’d stop by and check out what she’s been up to.
Canadian photographer, Lissy Laricchia, creates the beautifully crafted dreamy world of fairy tale references in all its beauty and horror simply using smart props, location, minimal costume, and digital manipulation.
In the site-specific installation Anxiety Map, designer Alexia Mosby documents an overactive mind’s anxious thoughts. It’s a personal map, and one that boldly displays the many things that run through your head as you’re leaving your home. Over the course of two flights of stairs, you’re doubting that the stove was turned off or the door was locked. After making your way to the bottom of the steps, you come to the conclusion that you have to go back and check.
Anxiety Map uses stairs, walls, and even railings to transmit her text in black masking tape. At certain angles letters look distorted, and it’s only when you approach them from very specific ways that they appear correct. Otherwise, they are stretched, shortened, and sometimes incomprehensible – not dissimilar to the thoughts in our head.
Japanese-born Hiroyuki Nakamura is a painter of displaced imagery. His paintings are constructs of old-meets-new at the ironic seam where east-meets-west. Although visually, these constructs are voices of the artist’s imagination, he’s managed to capture something very tangible about life in the western desert – a lifestyle where one makes do, where routine is determined by the landscape, and where one makes a life by piecing together the randomness of what one finds, which are often the leftovers of passersby.
Combining Western cinema and traditional Ottoman motifs, Turkish artist Murat Palta designed a series of images that blend the style of the Ottoman empire with films like Pulp Fiction,Alien, and Clockwork Orange. They are made to look historic and aged, and once you see past that, Palta has illustrated some of the iconic scenes of the particular film.
The Ottoman Empire, also known as the Turkish Empire, was one of the longest running empires in history. Palta’s works recall the Miniature Style of the Ottomans, which was a part of Ottoman book arts that included illumination, calligraphy, paper marbling, and bookbinding. Miniatures were usually not signed because they were not created entirely by one person. Production included the head painter who designed the composition, and his apprentices that drew the contours and then painted the scene.
Like the Miniature Style, Palta has included stylized two-dimensional characters, flattened views of architecture, and a lot of contrasting patterns. He references the Ottoman tradition while still making it his own – After all, I don’t think that the old illuminations included men beating someone senseless with a nightstick or a tiny green Yoda. (Via That’s Like, Whoa!)
The stereotype of your average biker is probably not the first thing you would think of when looking at these images by London based photographer Bex Day. She manages to capture a personable, jovial and charming side to the bikers associated with the infamous 59 Club of London. Wanting to recreate scenes of the subculture from the 60s and onwards, Day cast different characters in certain poses that are endearing and humorous. She says:
I wanted to explore the renowned biker café, the Ace Café and explore the lives of the bikers who hang out there and get to know them better; but most importantly to investigate their take on the 50s/60s movement.
Trying to keep the scenes as realistic as possible, and true to the spirit of the 59 Club, it is important to Day that she captures the bikers how they really are – wrinkles, blemishes, hairy backs and all. She goes on to say:
I wanted to recreate the era to illustrate it in a timeless manner, which is what I try to do in all my photographs, but also to emphasize how the subjects viewed the era we were trying to portray and their take on it was crucial to the photographs.
Day wants to challenge our views of conventional beauty and to destroy the guidelines of what is and what isn’t aesthetically pleasing. A subject that isn’t normally seen as beautiful, in Day’s hands, is treated as something equally as attractive as a traditional fashion spread. Who would’ve thought long haired men wearing too-tight dungarees and ‘pimp’ glasses straddling motorbikes could be so appealing?