If you don’t remember last year gas prices were through the roof in the states. Immediately everyone was wondering why we weren’t switching to futuristic electric vehicles. This movie has some of the answers for why we are going at a snail pace towards a cleaner, more efficient world.
With gasoline prices approaching $4/gallon, fossil fuel shortages, unrest in oil producing regions around the globe and mainstream consumer adoption and adoption of the hybrid electric car (more than 140,000 Prius’ sold this year), this story couldn’t be more relevant or important. The foremost goal in making this movie is to educate and enlighten audiences with the story of this car, its place in history and in the larger story of our car culture and how it enables our continuing addiction to foreign oil. This is an important film with an important message that not only calls to task the officials who squelched the Zero Emission Vehicle mandate, but all of the other accomplices, government, the car companies, Big Oil, even Eco-darling Hydrogen as well as consumers, who turned their backs on the car and embrace embracing instead the SUV. Our documentary investigates the death and resurrection of the electric car, as well as the role of renewable energy and sustainable living in our country’s future; issues which affect everyone from progressive liberals to the neo-conservative right. Written by Richard D. Titus
Jennifer Celio’s delicately rendered landscapes manipulate perception, creating fantastical iterations in which artificial and natural imagery fuse to become newly impossible sites. Working in graphite pencil on paper, she creates obsessively detailed scenes inspired by urban environment. Hinting at the contemporary threat of environmental degradation, Jennifer’s drawings depict seemingly mundane spaces that have been artificially altered or supercharged. The artificiality of our natural environment as well as our quest for it is questioned. See Jennifer’s work in person until April 21st in Los Angeles at Katherine Cone Gallery.
San Francisco based Alex Cornell has a track record of pursued professions that makes most feel like underachievers; he is a graphic designer, musician, and dabbles in photography. These collection of posters are reminiscent of 40’s atomic bomb informational posters with a hint of contemporary influence. His organization of graphic elements is very clean and eye pleasing.
Jonathan Brand’s sculptures are inspired by his personal experiences and memories where he takes real events/situations in his life and uses it as a departure point for his imaginative projects. Read about his various projects after the jump.
Jeff Soto recently opened his newest exhibition, “Turning in Circles” at the Riverside art museum last weekend. Many of Soto’s works include references to the natural world and organic phenomena, whether in his titles such as “Cold Ice Age,” “Butterfly Swarm,” “Wild Growth,” or within visual iconography, ranging from plant-like root tendrils curling around the frames. Yet within these seemingly pastoral suggestions, Soto overlays a grid of human technology, destruction, violence. Highly influenced by graffiti, illustration, murals, comic book art and other forms of non-traditional visual expressions, Soto creates a fanciful hyper-colored world that playfully examines the age old battle between man, machine and nature, played out through technicolor characters and settings.
It’s really hard to pull off a painting with a white center but somehow Greg Bogin has done it. With a minimal amount of paint and some carefully shaped canvases greg manages to create beautiful work that packs a powerful punch. It also doesn’t hurt that he jam packs his work with one of my favorite things in life…gradients!
Though the medium of stereoscopic optics have been blowing minds (and crossing eyes) since the late 1800’s, artist and designer Ryan Colditz takes the media to surprising new ends. Colditz plays with this dazzling visual trope to breath new life (and dimension) to graphic design and photography, creating a startling new aesthetic that literally manages to pop off the page. Beautiful/Decay recently discussed Ryan’s home made 3-D camera, process, inspiration, and beyond- read more after the jump!
The kids in Emily Stein’s photographs of mosh pits at concerts are totally free. It’s fascinating that teens – who we all know are notoriously self-conscious – are able to let go to such a wild extent. At the same time, it is not at all surprising, as when are you wilder than in your teenage years? Stein captures the gamut of experiences: intense energy, happiness, rapture, contentedness, trance and goofiness.
If you’ve ever moshed, you know it’s a one of a kind experience. The energy can become very aggressive, but people are almost always responsible and friendly. You can be shoved violently by the same person who lends you a hand to pull you back up off the floor. It’s a great release of energy and opportunity for expression without judgment. You can flail and hurl yourself any way you want, and no one will call you on insanity, because they’re all in it with you. It’s beautiful to see the teenagers so enrapt in the experience. Stein’s photocomposition is candid and not overly calculated, probably because of the nature of the project. It’s exciting when you find the half-hidden expression of some head-banging preteen thoroughly enjoying their epic Saturday night.