Photographer Jeremy Kohm has travelled & lived around the globe, honing his skills. He began his career as a surf photographer in Japan. Now based in Toronto, Jeremy works primarily as an editorial photographer and as an affiliate photographer for Fever Films. His images are clean, straight-forward and refreshingly minimalistic.
Chau Har Lee. “Blade Heel,” 2010. Perspex, stainless steel, leather. Courtesy of Chau Har Lee. Photo: Jay Zukerkorn
Noritaka Tatehana. “Atom,” 2012–13. Faux leather. Courtesy of Noritaka Tatehana. Photo: Jay Zukerkorn
Winde Rienstra. “Bamboo Heel,” 2012. Bamboo, glue, plastic cable ties. Courtesy of Winde Rienstra. Photo: Jay Zukerkorn
Iris van Herpen X United Nude. “Beyond Wilderness,” 2013. Courtesy of United Nude. Photo: Jay Zukerkorn
“Killer Heels,” a new exhibit at the Brooklyn Museum, traverses the decades from the 17th century up to now, displaying iconic shoes such as Marilyn Monroe’s stilettos alongside modern 3D-printed heels by designer Iris van Herpen. Needless to say, these heels put the “haute” in “haute couture,” one of them featuring 8-inch stilettos that forces the wearer on her toes. Another, a pair of Manchu platform shoes, look almost like jeweled music boxes set on pedestals.
Over the years, high heels have become a complex and controversial symbol, by turns fetishized and reviled. To explore this complexity, the 160 pairs in the exhibit are diverse. On the classical end of the spectrum, French shoes from the late 17th century are modest, with muted colors and crafted from silk and leather. Some heels are more whimsical, like the bright red “Eamz” by Rem D. Koolhaas, which brings to mind the plush vinyl of stools at a soda fountain. The Block Heel from Balenciaga strikes a more classic pose, looking infinitely wearable next to the elegant but tortured lines of Walter Steiger’s “Unicorn Tayss.”
According to Lisa Small, who organized and curated the exhibit, the heels are “difficult aesthetically or meant to be making different kinds of statements rather than the prototypical sexy stiletto.”
Killer Heels elevates the high heel to something more than an accessory. Museum-goers will contemplate its cultural identity, form, and function. They will marvel at the various incarnations from pump to peeptoe. And, upon leaving the exhibit, they will breathe a sigh of relief and thank the powers that be for the invention of the humble sneaker.
The exhibit will be on display until February 15, 2015. Visit the Brooklyn Museum online for directions and details regarding admission and museum hours.
Perhaps you may be familiar with your state motto or state bird. However, what about your state amphibian or state grain? America’s fifty states have many official state insignia, some more obscure than others. Artist and designer Julian Montague highlights many of these for all of the states in the union in his new series State of America. While some state insignia may be predictable – Idaho’s official state food is the potato – others are bit stranger such as Georgia’s official state fossil: shark teeth.
For Epitaph, British photographer Rankin teams up with Beaty Editor Andrew Gallimore to create spellbinding death masks inspired by the Mexican Day of the Dead and Roman Catholic All Souls Day. Like the sugar skulls, or calavera, used to celebrate the holiday, these elegant masks put a vital and lively spin on death. Decked out in intricate beading and filigree, their models look luxurious and festive.
Calavera, normally colored in vibrant greens, reds, yellows, and blues are often eaten after the holiday; adorned in glittering stars and blooming daisies, these living skulls look like sweet confections. The female faces, painted in black, become a youthful template for imaginative explorations of an afterlife that awaits us after old age. As if from another world, their gray-green eyes stand starkly against coal-toned flesh. Rankin and Gallimore infuse the editorial with a hefty dose of high-fashion edge, introducing elements like metal spikes and and chains. These harder elements blend seamlessly with the iconography of the Day of the Dead; in one mask, a red clown nose made of punk-rock studs puts a contemporary spin on the timeless tradition.
Rankin is not new to the theme of death. In the wake of his parents’ deaths, he was compelled to break cultural taboo surrounding the dead, to face head-on his fears of dying. For last year’s photo series ALIVE: In the Face of Death, published by Hunger Magazine, he photographed those effected most by death, giving voice to grieving family members and to resilient individuals living with terminal diseases. Here, his enthusiastic lens provides solace from the fear of the unknown, inviting us to celebrate those we’ve lost as we mourn them. (via Trend Land)
California artist/designer/illustrator Steven Harrington recently opened a large solo show at Known Gallery in L.A. Harrington is known for steezy, vibed out psychedelic characters and patterns. He’s worked on a slew of projects, including collabs with Nike and Arkitip mag, to bring his singular aesthetic to the masses. This show, entitled INSIDEOUT, is still up until September 1st. But in case you don’t have the chance to check it out in person, catch some installation shots after the jump. The “You&I” sculpture (above) is especially nice.
The installations, sculptures and street art, of Jakub Geltner is subtle, disconcerting, and very in-sync with the Zeitgeist and hot topic of the moment. The Prague-based artist installs groups, or rather – herds – of security cameras, satellite dishes, and surveillance equipment in different outdoor settings. Drawing attention to the presence of being watched and filmed in some way or another, the groups of equipment is very creepy.
Geltner places the gear in absurd places – screens are tilted to look directly at a brick wall, or to spy on a moss covered rock at the beach. Satellite dishes are clumped together on the side of a church – obviously not much use for anything and cleverly parodies the aesthetic of so many apartment blocks littered with the dishes in our modern day, technology-obsessed cities. The artist explains a bit more about his work:
My project is simply called “Nests” and mimics the random human activity in the urban landscape. I was inspired by the characteristics of several cities on my travels around the world where I often found different unplanned, almost organically placed, elements that interfere with the typical facades of the buildings in specific cities.
Through this project I wanted to point out the extent of these “infections” to show how disruptively absurd as well as interesting the urban space can become. I have been working on these nests since 2011, when I set up the first “Nest 01″ in the city center of Prague. I installed it directly on the waterfront of the Vltava river while I was still studying at the Academy of Fine Arts in Prague. (Source)
So maybe next time you are walking on the street around your city, remember to look up and check out just what, where and how many technological ‘infections’ there are around you…..they may just spread their disease to you…. (Via Bored Panda)
This has to be my new anthem for waking up on Sunday mornings. What we have here is an animated, sci-fi hip-hop odyssey through the state of Arizona. It’s 100% handmade with colored pencils, pens & paper and totally wacky! Video by Sean Christensen, Music by Star Beav & Erocc’n (make sure to read the titles of the songs on the itunes page…trust me.) Watch the full video after the jump.