The documentary FOCUS follows the trials and tribulations of professional gamer Mike Ross as he trains for EVO, one of the biggest tournaments in his life. Ross, who recently signed with pro gaming team CompLexity, is one of the most passionate and well respected fighters in the entire Super Street Fighter 4 community. Watch the full documentary after the jump.
For 3 months of the year, Corey Arnold is a commercial fisherman. For the rest of the time he travels around Portland, Oregon and the surrounding areas photographing the wildlife in a very sincere and earnest way. Beginning his life at sea, he first worked as a deckhand on a crabbing vessel in Alaska in 1997, and from then started documenting his experiences in an on-going series called Fish-Work. In it, Arnold captures the lifestyle of the commercial fishing world, filled with images of men in neon colored rain jackets, bundles of ropes, dead bait, enormous waves, monstrous fish and hoards of birds.
In his new series though, he has concentrated just on animals and their personalities. The exhibition Wildlife is as unpretentious as it sounds. Arnold has been able to become quite intimate with his subjects, capturing bears, birds, seals, sharks, and moose all in a relaxed, natural state. Spliced with images, once again, from the fishing world, we get a good idea of how seamlessly Arnold fits into his environment. It seems the animals caught on camera don’t notice the presence of this human one bit. The artist reflects on his obsession with the wilderness and also his ability to go unnoticed within it:
I harbored a deep desire to be an animal living in nature and I didn’t have far to travel. The lush gully in my backyard, just out of sight beyond a thicket of poison oak, was home to coyotes, raccoons, possums, stray pets, snakes, lizards, rats and crawdads. Any bustling in the bushes was a potential mystery to unravel or a prey to stalk. I was a particularly curious child, an amateur wildlife tracker, behaviorist and hunter who often pressed the boundaries of human/wild animal proximity. (Source) (Via Super Sonic)
Beautiful/Decay recently created a lookbook for our Spring/Summer 09 seasons. The concept behind the shoot juxtaposes evocative objects & optical affects with our apparel, to complement the shirts in abstract ways. Still life images of disco balls, prismatic rings, shag carpets and balloons contrast the light, color and texture of the shirt graphics. See our apparel line come to life in new and unexpected ways! Photography by Luke Stettner.
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Bowling Green’s Jordan Speer creates spacious worlds of clumps and lumps that bring to mind what would’ve occurred if Philip Guston had happened to have access to a 3D modeling program. Jordan starts in a subdivision modeler called Wings 3D where he creates each element of the image, and he then stages them in Cinema 4D, which allows him to apply lighting and various textures. Once the file is complete, he tweaks the image in Adobe Photoshop, prints the image out, and then scans it back into his computer at either a high or low resolution setting. In spite of its heavily digital origin, Speer’s work physically manifests itself in the forms of zines, short-form comics, show posters, and publication covers.
Speer’s isometric view strengthens the image’s technical origins, while his comically gory content and grainy finish give it an organic touch. With the colors of a clown’s wardrobe Speer arranges mysterious peeks into a world where dismemberment and assembly are spontaneous and painless. His vision is uniquely his, sitting somewhere between the fashionably crude renderings of the many artists dabbling in 3D programs, and the professionally-polished films of Dreamworks and Pixar. He just released QCHQ through Space Face Books, a 68-page full-color book, and he created the wrap-around cover image for the eagerly awaited Happiness #4. It’s exciting to think about where Speer will continue to push this unique look, be it into a long-form animation or a graphic novel.
Portlander Kyle Jorgensen combines ethereal, cosmic subject matter with explicitly tactile media selections, and it really works. In the age of Photoshop, a lot of this type of imagery is often generated through digital means. It’s really nice to see a guy just go all out homegrown. Great palette here as well. Click past the jump, and then check out his blog for more.
Mike Frederiqo is a 23-year-old Dutch illustrator with a healthy dose of talent and humor. You may have seen his other works circulating the internet, including his combinations of BAPE’s fashion logo with Andy Warhol’s Campbell’s Soup Cans, or his images of Sponge Bob as Coco Chanel, Karl Lagerfeld, Terry Richardson, and more. In his more recent series, he has taken his illustrative interpretations of the fashion world a bit further, utilizing the bodies and faces of high fashion icons and their collaborators to recreate famous logos. Among the images you’ll see Lagerfeld and choice model Cara Delevingne completing exaggerated backbends with elongated arms and legs to form Coco Chanel’s interlocking Cs; elsewhere, editor-in-chief Anna Wintour twists into the name “Vogue” (while holding what appears to be a Starbucks coffee). In an interview with Life and Times, Frederiqo explained his inspiration for the series:
“You see so many illustrators taking those famous logos and making fun of them — almost in a negative way. So, I wanted to do something in a positive way with the logos that were recognizable. And what is more recognizable than the Coco Chanel logo?” (Source)
Based in good humor and playfulness, Frederiqo’s stylish logo recreations have a way of grabbing our attention and making us laugh. Logos are a vital part of a brand’s identity, representing their international, high-ranking status and presence. Frederiqo’s illustrations remind us of the real human beings behind these labels; we recognize the logos (and the significance of their names in the fashion world), but when given faces, they become lighthearted, tangible, and funny. Frederiqo’s works poke fun while also nodding in homage.
Henry Ford’s Digital Collections Initiatives Manager Ellice Engdahl recently wrote about one of his favorite artifacts of the 18,000 published online: The Monkey Bar diorama. This diorama was created by a man known as Patrick J. Culhane (various spellings) in 1914-15 during his time at the Massachusetts State Prison at Charlestown where he’d been sent after a conviction of “larceny from a conveyance.” Culhane carved and assembled this incredibly detailed piece of prison art by hand from a variety of materials, including peach pits, and scraps of wood, fabric, metal, cellulose, and plastic, all fitting into a base measuring only 16″ x 20″.
Engdahl notes that Monkey Bars were created by other prisoners in the early 20th century, and that “Culhane intended the diorama to depict many of the worldly pitfalls that had put him and his fellow inmates on a path to prison. The Bar is chock full of monkeys engaged in all kinds of rambunctious activities—drinking alcohol, gluttonous eating, smoking (cigarettes, cigars, and opium), gambling and gaming in many forms (craps, roulette, checkers, shell game, and cards), playing music, monitoring the stock market via a ticker, and even paying off a policemonkey. Clearly some of the monkeys are ready to check into (or out of) the associated hotel, as they have their suitcases with them and keys and mail are visible behind the desk.”
After Culhane finished his piece, he arranged to have it sent to Henry Ford, with a hand-written note, “Presented to Mr. Henry Ford / As a token of appreciation and esteem for his many benevolent and magnanimous acts toward, and keen interest in, prisoners / By A Prisoner.”
Engdahl surmises that Ford became interested in Culhane, and may have a hand in his release from prison, as Culhane was hired to work at the Ford Motor Company in Cambridge, Massachusetts in 1916 and Ford’s secretary corresponded with Culhane regularly.