Filmmaker Sébastien Lifshitz began compiling vintage photographs of queer couples when he happened upon a photo album that he realized contained the life a lesbian couple. Intrigued by the visibility with which they claimed with these photographs, despite living in the early to mid 20th century, when homosexuality was less accepted and more hidden that it is now, Lifshitz filmed a documentary – Les Invisibles (2012) – chronicling the lives of LGBT couples born between the two World Wars. Lifshitz just released a companion photo book –The Invisibles: Vintage Portraits of Love and Pride – last month. These images capture a lifestyle that was largely invisible to the mainstream culture to which it belonged. Photography was a way for queer communities to be visible to each other and to document the lives they led, however invisible they were to the heteronormative culture of their time.
Of his collection, Lifshitz says, “I don’t know these people — they are anonymous to me. I can’t really even say that each person photographed into the book is gay, except when it’s obvious. What I like is that there are different levels of reading these photos — I would say three levels to be exact. The first one is the pictures of obviously gay single people or couples, the second is the pictures of people which can be seen as ‘undefined’ (we’re not sure) and the third level is the ones that are obviously not gay but playing with a gay attitude (cross-dresser, some ‘garçonnes,’ etc.). I love the ambiguity and diversity of these pictures. These photographs ask questions. I didn’t caption the photos because I don’t know quite anything about each of them (no name, no location mentioned most of the time). I wanted to expose them like the way I found them: without any information, like mysterious pictures.” (via brain pickings)
adidas collaborated with a renowned performance artist Marina Abramovic to create a short film for the 2014 FIFA World Cup. Video takes inspiration from Abramovic’s 1978 performance Work Relation and explores the notion of teamwork and parallels between sport and performance.
Same as the original piece, the reenactment features a group of 11 people (a reference to the number of soccer/football players on the field) transporting stones from one side of the court to the other. They are all arranged into three contrasting models: a couple, two individuals and a human chain. By doing so, Abramovic explores the contrast of cooperation and efficiency.
Work Relation was a perfect piece for adidas to pay tribute to its partnership with the 2014 FIFA World Cup. According to Abramovic who appears in the video herself, she sees a broad affinity between sport and performance.
“One similarity that I wanted to highlight in this video is the importance of group collaboration. <…> I believe that it is important to learn from other disciplines in order to bring new life to whatever it is that you do.”
The black and white video was shot by SHOWstudio in the manner of early motion cinematic experiments. All participants are dressed in their personal clothes, however they all wear a white lab coat from Marina Abramovic Institute and adidas’ Samba sneakers. As the performance author explained, the apparel was meant to create a sense of collective experimentation and mute external distractions.
The creative brains at Studio Nos, one of the premiere independent stop motion animation studios in New York City has teamed up with Action Cam by Sony in The Picture Machine, an incredibly delicious collision between technology and on of the oldest forms of Animation.
The zoetrope is perhaps one of the best pre-film animation devices to ever be invented. This simple setup takes a sequence of drawings or photographs of progressive phases in motion and through the use of speed animates them before your eyes. Studio Nos’ contemporary twist on the age old medium consists of a remote controlled car pod rigged with the Sony Action Cam driving on a track inside a zoetrope. As the car speeds up and zips around in circles a series of animation cells come to life.
The result of this imaginative mashup was a collaboration between man and machine to bring to life a non-stop parade of hand illustrated dancing mushrooms. Watch the video yourself and dream up how you can use the Sony Action Cam to create your next video masterpiece.
Matt Relkin, of Williamsburg, Brooklyn, possesses a strong graphic sense, and uses it to create paintings full of impact and wonder. He has a piece in a Brian Eno tribute show, “Another Green World,” at Beep Beep Gallery in Atlanta, Georgia.
Here are some scans from the short lived Hot Rotor Magazine, which as far as I can tell was a promotional item issued by the turbine/rocket engine company Turbonique. The images, helpfully scanned by Jason Torchinsky, convey a playful sense of futurist optimism which was all too common in 1960s America, yet we can still clearly see that Turbonique’s vision of the future is very much steeped in 1960s industrial design and culture.
Dutch painter Philip Akkerman has 200 or more self-portraits on his website. They are extremely varied stylistically but almost always share a really unsettling vibe that’s hard to articulate. In the paintings, Akkerman is usually glaring; eyebrows and lips turned downward. What’s most intriguing in these works is Akkerman’s evolution over time. He’s experimented with myriad different styles and techniques and grown as a painter, and his various transformations are all laid out in these works. Not his glare, though. That’s remained somewhat of a constant. (via)
Artist Stevie Gee seems to be as laid back as his art work. Skateboards, surfboards, fins, and posters all bear his unique styling. Gee’s illustration work feels as if it’s pulled from an endless sunset in the middle of an endless summer. At once retro and fresh, the images seem to be culled from a collective memory of skateboarding/surf culture and its heritage. His endearing style has won him high-profile clients such as Vans, Nike, and Lacoste.