Dreamy, nostalgic collages by Indonesian illustrator Resatio Adi Putra.
Dreamy, nostalgic collages by Indonesian illustrator Resatio Adi Putra.
In 2011, a woman named Erin Hart stole artist Jessamyn Lovell’s wallet, and eventually her identity, racking up credit card charges, parking tickets, and even a theft charge in Lovell’s name. As an act of retribution for this infuriating and frightening experience, Lovell created an art exhibition called “Dear Erin,” featuring documents, surveillance photos, videos, and interviews documenting Erin Hart’s crime spree. Hell hath no fury like a woman with a stolen identity.
“Using a camera and occupying the varied roles of victim, stalker, investigator, artist, spy, and vigilante, Lovell offers a body of work that touches on contemporary concerns of surveillance and selfhood within the information age.”
The thoroughness of “Dear Erin Hart” is impressive and somewhat alarming. In the attempt to “[understand] this woman and the course of events that brought their lives together,” Lovell hired a private investigator and even photographed Erin Hart being released from jail, a series of photos that are disturbingly stalker-like. The project was exhibited at SF Camerawork from September 3 – October 18, 2014.
Now, in a continuation of the project, Lovell hopes to contact Erin Hart in order to deliver a letter she’s written. She’s raising money for her trip (from Albuquerque, NM where Lovell lives to San Francisco, CA where Hart lives) through the sale of her own photos on Etsy and using a crowd funding campaign posted on her Facebook page.
“Lovell says that her hope is to reach out to her identity thief one more time in an attempt to get her most burning questions answered. Lovell also says that even if her attempt fails and Hart refuses to talk to her, she will at least know Hart knows of Lovell’s existence. She also hopes that Erin Hart will accept the invitation to allow Lovell to interview her and agree to be recorded.”
Erin Case stole Jessamyn Lovell’s identity, time, and peace of mind. Lovell, in relentlessly pursuing her thief, robs her of her anonymity.
Interim Camp by London creative agency FIELD is an experimental film entirely made from computer generated landscapes. Poor visibility; weather again unsettled today. Surreal rocks and riven lowlands, valleys fog-shrouded. Frightening depths, and emptiness. Rarity of air is noticeable. It is a meditation about the pursuit of an idea; about obstacles, struggle and failure along the way.
Friday the 13th was nothing but lucky for LA’s Local Natives as they headlined the Greek Theatre a couple of weeks ago. The band gave their hometown fans a hard hitting, emotional show full of heartfelt thanks and crushing songs. Not that long ago you could have seen them at any number of clubs in Echo Park or Silverlake, but to see them perform at one of their largest headlining hometown shows to date was something I could not miss. With their latest album, “Hummingbird” released at the beginning of the year on Frenchkiss Records, the band played their hearts out to the enthusiastic crowd of well wishers.
Opening with, “Breakers” from their new record, the band jammed through songs both new and old including, “Wide Eyes“, “You & I, “Camera Talk”, and “Airplanes” and continued to thank the audience of fans, family, and friends up until their final song of the night. With that familiar thumping drum beat and the band bathed in red light, the crowd clapped and jumped along to one of the most intense versions of, “Sun Hands” I’ve ever seen them perform.
Local Natives will be appearing both weekends of the Austin City Limits Music Festival on October 4th and 11th as well some shows in between so check out there tour dates here to see if they’re playing in or around your area before they head off to Europe. Also, check out their new video for their song, “Ceilings” which was directed by their bass player, Nick Ewing.
The drawings of Dutch illustrator Laut Rosenbaum.
Photographer Suzanes Heintz is a self-proclaimed spinster. As a single woman, she got fed up with the bombardment of questions about when she was going to get married. Tired of being pittied, she decided to confront this issue head on. She purchased two mannequins – one male and one female child – and the series Life Once Removed was born. Dressing up and posing with her fake family, she stages witty representations of the American Dream. Ski trips, vacations, and stereotypical romantic moments are all acted out by Heintz, and she sets the scene perfectly. These colorful images feel saturated, in both how they look and the emotional exuberance of the her expression and body language.
Heintz rejects the notion that to be a successful woman means that you have to fulfill a laundry list of achievements, not limited to an education, career, home, family, accomplishment, and enlightenment. In an interview with Feature Shoot, she explains why she created Life Once Removed:
I’m simply trying to get people to open up their minds and quit clinging to antiquated notions of what a successful life looks like. I want people to lighten up on each other and themselves, and embrace their lives for who it has made them, with or without the Mrs., PhD. or Esq. attached.
All of these photographs are shot on location. When Heintz lays her head in mannequin’s husband’s lap while in the park, it’s totally real, and an important aspect to Heintz’s series. She goes on to say:
While I need the public to act as character and context for the actual photo or video, I also need their responses to make the effort a success as an instigator for social change. The reaction can vary from a raised eyebrow with a head turn, to a blast of laughter, to taking their own snapshots while posing with the mannequins. It depends a lot on the location. But most importantly, it stops people in their tracks long enough to ask me what the heck I’m doing. Because the project is so audacious and flat-out funny, it helps me reach the public, and actually get them to let their guard down long enough for me to have a conversation with them. (Via Feature Shoot)
There are many kinds of maps to help find our way in this world. Political, road, and topographic maps may be familiar, but in Chilean artist Rodrigo Arteaga’s hands, maps are made by and of cultivated fungi. Meticulously grown and preserved, Arteaga’s maps are simultaneously science lesson and aesthetic object.
“Convergence” is a mapamundi (map of the world); an installation composed of filamentary fungi in glass containers. The propagation these fungi propagated represented the surface of the earth. The other components of the work were elements that evidence the research process: photocopies of mycology books, pencil drawings that imitate the growth of fungi, sketches, photographs, and Petri dishes with laboratory tests.
A second project, “Atlas de Chile Regionalizado,” consists of 15 glass containers in which different types of filamentary fungi represent each one of the 15 regions of Chile. The living organic matter of the fungi is delimited and cut in the shape of each region, then preserved under resin.
These interdisciplinary works involve people from interdisciplinary areas of thought. Their beauty is in the relationship between art and science; order and chaos.