Stephen Wilkes‘ “Day to Night” series captures the day-to-night transitions that occur in familiar cityscapes. Each image represents a collection of moments, not just a singular moment in time. About 50 photographs out of around 1,500 shots taken over the course of 12-15 hours comprise each single resulting photograph. During his shoots, Wilkes doesn’t allow himself bathroom breaks and when he eats, he eats meals brought to him in a bucket because it’s imperative that the photographer pay careful attention to the emptiness or potential overlaps of each shot. Wilkes’ composite photographs document movements within the same space from sunrise to sunset, each image capturing the transitions these spaces undergo on a daily basis.
For Time, Wilkes offers a descriptive caption of many images. Of his Wrigley Field photograph he explains, “This photograph was taken during the course of a Day/Night double header, a rare occurrence these days in major league baseball. Wrigley Field is the Grand Temple of baseball parks. It will change dramatically within the next year, as large jumbotrons will be installed into the stadium, forever changing this view. While the morning was sunny and clear, the afternoon made for a real challenge photographically. We had rain showers on and off throughout the day, and into the evening.”
Aaron Johnson’s sunny Brooklyn studio is full of riotous, colorfully undulating, larger-than-life monsters. He’s getting ready for a show that opens next week. Luckily, he had some paintings in progress so we can see how he puts his paint on. Known for making paintings that are both incredibly gorgeous and politically aggressive, Johnson continues to develop and has upped the ante with his new work. Now he’s including Old-Master appropriations, political satire, religious abominations, gender-benders, and personal references, all played out in monstrous iconography.
“At age 17, I lost every possession I had accumulated in my short life span; ever since I have been a collector. My mission is to document and observe the world around me as if I have never seen it before. I take notes. Collect things I find during my travels. Document my findings. Notice patterns, Copy. Trace. Focus on one thing at a time. Record and follow what I am drawn to. It brings me immense joy to create space for what has been left behind. To preserve the history of others.”
Oakland-based illustrator and installation artist Lauren Napolitano works with found materials: wood scraps, old bottles, paper torn from old books, tattered lace and dried flowers amass in her subtle shrines, which are layered with the tiny, intricate painting style she has honed over the last decade. Entirely self-taught, Napolitano uses her thin, fragile, art-deco-inspired linework to coat forgotten relics of the everyday with new meanings, and new life. Her recent traveling project with street artist Shrine, called the “Reckless In Love Shack,” has been set up at Symbiosis and Lightning In A Bottle, and she continues to fill spaces with her lovely, lightly aged drawings and paintings, most recently at White Walls in SF and Old Crow in Oakland.
Jeff Sonhouse creates the most tripped out jester-saint psychedelic pimps who are all standing on the verge of getting it on. Fly tinted shades, canary top hats, tight pin stripes, righteous afros, bow ties, fox pelt stoles…you get the idea!
Shia LaBeouf has our attention once again, but this time he is only a placeholder in an enormous and masterful creative production. While the video is a parody of sorts of Labeouf’s celebrity status, the real focus is on just how incredible all of the different elements come together. A mixture of music, comedy, dance, narrative and performance, the stage piece is definitely a spectacle. You just need to look at the credits on the Youtube page to see how many people were actually involved in making this strange idea come to life.
The actual song, and score was written by Rob Cantor, and was made a reality with the help of The Gay Men’s Choir of Los Angeles, The West Los Angeles Children’s Choir and The Argus Quartet. Not only did he write the song, and draw up a complex and riveting narrative of what happens to our star character, but Cantor also oversaw the construction of Shia LaBeouf heads for the dancers to wear; he stood in on the choreographed dance rehearsals, and co-ordinated a behind-the-scenes video log.
You can see just how intensive this project was, and the lengthy process it took to get the musical to the final stages. If you are still left wanting more Shia LeBeouf after watching the musical number, visit Cantor’s Facebook page for many more interesting videos on how exactly this bizarre masterpiece came to fruition.
Photo by Zach Callahan
Collaborative unit created by two photographers in Germany.
Designer Outmane Amahou‘s posters seem to need very few words accompanying them. This series is appropriately called Minimalist Art Movement Posters. Amahou glides through art history with a minimalist design style. Icons of art history’s various movements and schools stand elegantly alone at the center of each poster. Warhol’s soup can, Magrite’s pipe, Duchamp’s urinal all act as familiar symbols of their respective styles.