Last night I went to see Vidal Sassoon, How One Man Changed The World With A Pair Of Scissors at my local art house movie theater. Since it was a Sunday night we were expecting to have the theater mostly to ourselves but the place was buzzing with hundreds of hair dressers from all over Southern California. It was an amazing scene. Everyone in the theater knew one another and were busy chatting away and complementing each other on what they were wearing and of course their hairstyles. I have to admit that I was the odd man out since I’m not a hairdresser, don’t know much about Vidal Sassoon other than seeing his hair care products in stores. Nevertheless I am a documentary junkie so I strapped myself into my seat and prepared myself for 1.5 hours of nothing but hair talk.
Vidal came from humble beginnings, growing up in London orphanages for most of his youth. Without a college education, a father, and any financial support he managed to take the hardships of life and turn them into motivation for getting ahead. Not being content with being average, he set out to revolutionize Hairdressing. Vidal is by far the most groundbreaking and famous hairdresser in the world. He has reinvented the way hairdressing industry not only by creating bold new hairstyles inspired by architecture but also by changing the way hair salons looked, creating the worlds most prestigious hairdressing academies, and starting the first and most well known haircare line launched by a hairdresser. If these achievements aren’t enough Vidal also is a best selling author, one of the first people to promote yoga and pilates in the US, and hosted a wildly successful TV show with over 200 episodes. More than a documentary for the hairdressing industry, Vidal Sassoon is an inspiring story that illustrates what one person can achieve with conviction, ingenuity, and ambition. Watch the official trailer for Vidal Sassoon after the jump.
Christian Montenegro some beautiful illustrations on his site that fuse idiosyncratic line work, unexpected compositions & figurative elements and bright, saturated color palettes. I am totally in love with his silkscreen above, “Glam Rock!” that seems to fuse the act of head-banging with a swirling color wheel calling to mind Kenneth Noland’s color paintings.
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.
ChloeOstmo‘s photography installation “Falling” is art as an active verb. Ostmo re-inserts the three-dimension quality of falling into what could have been merely a flat series of photos of a woman tumbling down a flight of stairs. The effect is similar to that of glitch art, except wrought in realistic rendering.
“My work is broadly concerned with the negotiation between a three-dimensional original event or object and its two-dimensional copy,” Ostmo says in an artist’s statement. “I am interested in the transformations that occur and their impact upon our perception and understanding of space.”
Ostmo’s installation doesn’t seem to only evoke a different perspective regarding the three-dimensional and two-dimensional; it seems to call up the fact that our attention can only be held by one part of a whole at a time. By breaking up the act of falling into various pieces and smaller photographs, Ostmo’s installation almost mimics the way we parse reality, reducing it into manageable pixels that eventually form the entirety of an event.
“Working predominantly with photography and video, I am interested in the spatial possibilities and generative potential of the photographic print as a complex ‘material’ that has the ability to confront the viewer as an object in the present as much as an image of some past event.”
Feel free to blame Canada for the fun artwork of Toronto-based photographer Sara Cwynar. The above image is a ‘fictional manifestation of paranoia’. The cluttered composition and mischievous raccoon makes me a bit paranoid, even though I enjoy it. Sara was even featured in The New York Times magazine, and she’s still in school! You can also see Sara’s work on her Tumblr page.
For those with a sweet tooth, the work of Peter Anton might make you hungry. The artist’s hyperrealistic sculptures of cakes, candies, and ice cream bring the sugary treats to life. At first glance, they pass as real food rather than as convincingly-painted and crafted artworks. “I like to alter and overstate foods to give them new meanings,” Anton writes in an artist statement.
The colorful, larger-than-life works showcase an acute understanding of texture and lighting. Anton was very aware at how luster plays into the believability of his objects. As a result, some of the “frosted” donuts shine just as you’d imagine. In non-glazed objects though, he applies a matte finish.
Anton has an innate reverence for what we eat, and it’s what leads to these works creation. He says:
Food brings people together and there is no better way to celebrate life. Through the use of humor, scale, irony, and intensity in my forms, the foods we take for granted become aesthetically pleasing and seductive in atypical ways. I like to create art that can lure, charm, tease, disarm and surprise. My sculptures put viewers in a vulnerable state so that I can communicate with their inner selves in a more honest and direct way. I activate the hunger people have for the things that give them pleasure and force them to surrender. The sensual nature of the works stimulates basic human needs and desires that generate cravings and passion.
Australian sculptor, Paul Kaptein creates unusual but skillful wooden sculptures that question our ability to look past missing pieces in the bigger picture. Kaptein, interested in the Buddhist term sunyata (Sanskrit word for ideas of emptiness as a way to achieve wholeness), integrates (and questions) notions of substance, emptiness, and temporality into his highly skilled pieces of wooden work.
By seamlessly incorporating empty gaps (usually long empty rectangles) into busts and entire recreations of human bodies, Kaptein imposes the viewer with questions as to why these pieces are missing. The simple fact that viewers will directly and promptly question this characteristic first, further enables Kaptein’s interest in challenging the viewer’s resistance, and/or apprehension to accept something that is not complete. The main idea here relies on getting the spectator to react to Kaptein’s work for what it is: seamless, beautiful wooden sculptures that happen to be missing a piece or two.
It can also be said that these gaps are indicative of conceptions of time:
I’m exploring the notion of the now as a remix of past and future potentialities. This facilitates a renegotiation of perceptual truths resulting in an expression of things not quite truth, yet not quite fiction.