Tamaryn performing on Friday Nov. 23, 2012 at the Echo in Los Angeles.
Just before 11:30pm, I walked into a darkened Echo to find a very packed house waiting for Tamaryn to take the stage. Within moments, the swirling guitar sound of Rex John Shelverton and the soft voice of Tamaryn had me in a trance. They of course played new songs from their recently released record, Tender New Signs out on Mexican Summer which sounded amazing live. The set was short, but sweet with nary a word uttered from Tamaryn except at the beginning when she asked to turn the lights up a bit on stage complaining it was too dark. Hmmmm, not very “shoegazey”, but hey if you can’t see…
Their North American tour just ended on Saturday with a show at the Independent in San Francisco, but you should definitely pick up a copy of their new record and check out the video for The Garden below directed by Miko Revereza. Beautiful music!
Michael Shapcott is an emerging artist from Connecticut. His paintings and illustrations take traditional portraiture and add elements of folklore and dream imagery, his main source of inspiration. His work is nothing less than powerful, inspiring, and emotional.
Cradle of Mankind is the newest series by Canadian-born photographer, Joey L. Shot in Ethiopia’s Omo Valley, and featuring portraits of the various tribes that inhabit the area. The photographs are a deeply moving, visual homage to the tribal peoples of Ethiopia, the birthplace of Homo sapiens.
The photographs from Cradle of Mankind, along with Joey L.’s documentary film, Faces of a Vanishing World (watch the trailer after the jump)– which first aired on Ovation TV in September 2010, chronicle the artist’s deep interest in Ethiopia, and the rapid transition of it’s oldest cultures. During his time in the country, Joey L. lived with various tribes in the region, learning the different customs of each while capturing individual portraits. Though these tribes may seem untouched by time, they are in fact in constant danger of disappearing forever. The artist states in a 2010 NPR interview that he is interested in anthropology and likes photographing different cultures, “but the ones I’ve been paying attention to lately are the, I suppose what you’d call vanishing ones, … the cultures that are on the verge of extinction, tribes that are threatened by progress and losing their language and losing their ways of life that they’ve sustained for thousands of years.”
See a selection of Cradle Of Mankind from June 21st-August 4th 2012 at Stephen Cohen Gallery in Los Angeles
Although difficult to generalize, a common theme ties together the exhibitions currently on view at the Museum of Contemporary Canadian Art (MOCCA) and the Art Gallery of York University (AGYU). “At the Far Edge of Words” and “Imaginary Homelands” engage on some level, with the complex reflections of the artists cultural identity in relation to their exchanges with western culture, concepts of otherness, and navigating the hybrid spaces between while defining ‘home’. Rather than allowing these notions to become static, absolute, or restrictive, the artists invoke politics, humour, and nostalgia as a means to mediate their competing definitions of identity.
The Museum of Contemporary Art Chicago is hosting a massive exhibition about the one and only, David Bowie. A titan glam rocker and all-around swoonage daydream, Bowie is one of the most influential musicians to date. Running from September 23rd to January 5th, 2015, this exhibition, titled “David Bowie Is,” includes installations, outfits, artwork, album art, and much more. The exhibition unfolds chronologically, starting from Bowie’s teenage years and running up until his retirement from touring in the 2000’s.
“David Bowie Is presents the first retrospective of the extraordinary career of David Bowie—one of the most pioneering and influential performers of our time. More than 400 objects, most from the David Bowie Archive—including handwritten lyrics, original costumes, photography, set designs, album artwork, and rare performance material from the past five decades—are brought together for the first time.
Bowie’s work has both influenced and been influenced by wider movements in art, design, theater, and contemporary culture, and the exhibition subsequently focuses on his creative processes, shifting style, and collaborative work with diverse designers in the fields of fashion, sound, graphics, theater, and film. Multimedia installations incorporating advanced sound technology produced by Sennheiser, original animations, continuous audio accompaniment, and video installations immerse visitors in the sights and sounds of Bowie’s artistic life. David Bowie Is was organized by the Victoria and Albert Museum, London, and has embarked on an international tour with the Museum of Contemporary Art Chicago as the only US venue.” (Excerpt from Source)
The always-colorful work by Erin Rachel Hudak has the distinct ability to seduce with its bright and vibrant appearance. Hudak consistently produces work that looks happy and exudes love. The attraction, while complete, can be somewhat misleading, and upon closer inspection Hudak has often encoded a message, lesson, or suggestion hidden within the colorful work.
“Love You Forever,” a temporary installation in both New York and Idaho, included mylar balloons. An adoring public service announcement in both locals, the installations became celebrated destinations. However, despite the message of everlasting adulation, the installations were completely fleeting. On the one hand the works were romantic and beautiful gestures, or from another perspective they were impossible promises.
Often Hudak entertains such distinctions, juxtapositions and opposites—using the way ideas are defined by separation from other ideas. The concept is almost always referencing, or completed by, the viewer. Her outdoor installation-to-be at Paul Artspace in St. Louis involves a mirrored sculpture that reads “You Are My Reflection,” involving the viewer in a process of self-analysis. Combined with a rich visual vocabulary involving metaphors and language, Hudak’s works are always highly symbolic.
Catch her latest installation at the SPRING/BREAK Art Show taking place this weekend in New York. “Waterfall Wall” installed in the stairway of the SPRING/BREAK space is a cascading barrage of color and reflective surface. It is the visual manifestation of Hudak’s observations about power, freedom, access and restriction.
Eyes, we all have them. And they’re attached to the body that we have to take to the gym, so why not go to a gym that’s good looking? Take EQUINOX fitness clubs for example. The décor is zen-spa inspired. The yoga room has relaxing lighting, it’s oval shaped with bamboo floors and every mat is neatly tucked away in its place.
Everywhere you turn it’s another tasteful sign, piece of furniture or gleaming surface- a far cry from the usual garish colors and cluttered ambiance of other gyms. The treadmills even have a place to plug in your iPod and charge it, if that isn’t attention to detail, I don’t know what is.
Beautiful/Decay readers, we know you’re a discerning bunch, and you appreciate thoughtful design and great aesthetics, so get yourself over to Equinox for a 3 day trial and soak up the good-looking atmosphere for yourself.
Donna J. Wan’sPromised Lands series documents the merging of nature and urbanization. Wan’s work asks “how has our perceptions of the landscape have changed over the two centuries, after we have remade a considerable part of it in our image. Does the land, sea or mountain still represent places onto which we can project our hopes and desires? Or, have we become alienated from it and only respond strongly to it when we are shown images of its devastation?”