Father John Misty performing at the FYF Fest August 2, 2012
Father John Misty, aka Josh Tillman left Fleet Foxes in January of 2012 to the disbelief of many fans, myself included. I personally thought he was crazy, I mean he’s been releasing excellent solo albums as J. Tilllman for years, but why would he leave such a successful band like Fleet Foxes? When I first heard his new record Fear Fun under the moniker Father John Misty, I knew why. The album which he produced with Jonathan Wilson is amazing from start to finish and is definitely one of my favorite records of the year. He for one has always stated that he was just a hired hand for Fleet Foxes and just learned the drum parts for their songs.
With his dry sense of humor and imposing stage presence, he stole the show from many an act he was performing with, he definitely stole the show at FYF Fest 2012. I remember Kevin Bronson from Buzz Bands LA telling me after his performance, “he’s like Dean Martin“, which I thought was a perfect compliment. The singer is just hilarious and can rival many a stand-up comic with his quick witted comebacks to any fan that makes a comment out loud while he’s performing.
His humor also extends to his website calling his upcoming tour dates, “Opportunities to Capture Cell Phone Footage of a Live Rock Show You Went To”. Yes, he’s heading back on the road in 2013 with some headline dates as well as support for The Walkmen, before heading to Australia. Tickets are available for all shows including his last show of the year on Dec. 29th at the El Rey Theatre in Los Angeles via Ticketmaster.
Also check out his video for “Hollywood Forever Cemetery Sings” which his website describes as the following, “In this 3 hour experimental film, Aubrey Plaza reprises her career-defining role as Duncan Splays, a retired bounty-hunter and casual naturalist.”
Nick Georgiou creates grotesque yet mesmerizing works that blur the lines between sculpture and painting with his works. Using discarded newspapers and magazines, Nick re-imagines the material in surprising ways bending, folding, and cutting it into relief paintings as well as life size sculptures.
Nicholas Max Scarpinato is only 17 years old. Yup, this young photographer is still in high school. The work isn’t fully matured but just think back to what you were up to when you were a teenager and you’ll realize why Nicholas is someone worth keeping an eye on.
If you’ve ever wondered what your favorite world leaders would look like as hipster, ponder no more. Illustrator Amit Shimoni reimagines presidents, prime ministers and radicals into modern day trendsetters in Hipstory. With an overall, uncanny resemblance to Mad Magazine’s Alfred E Neuman, Shimoni’s portraits of dignitaries such as John F. Kennedy, Margaret Thatcher, and Ghandi give new meaning to nose-rings and Ray Bans. His lighthearted link to the past, just another reminder of our voracious appetite for turning the old, cool again. Even in jest, his subject’s hairstyles remain constant. Who knew JFK’s windswept wave would be in style 50 years later, or that Ghandi’s baldness would be a current fashion statement for both male and female? A few inside jokes include Kennedy rockin’ a Marilyn tee and a tropical patterned baseball jacket on Nelson Mandela.
It’s lighthearted and fun to imagine these historical figures in youth of today clothing and accessories, but deeper meanings prevail. It’s no secret that fashion has the power of showing what side of the fence you’re on. A visual signifier that immediately lets the world know who you’re with. In Ghandi’s portrait, the passive resistance peacemaker is painted in Grateful Dead rainbow t-shirt. If he were alive today, he would most definitely be pro-vegan protesting police brutality. Margaret Thatcher, on the other hand, looking rebellious in riot grrrl gear, could be fronting a punk rock band singing political injustice. The only sour apple of the bunch is Honest Abe. Appearing uncomfortable and moody in rockabilly jacket and gold chain, his apparent awkwardness might mean this trend can only be recycled back so far. The portraits are available for sale on the artist’s site in various incarnations including prints, t-shirts, cell phone skins and more. (via Fubiz)
Marcelo Monreal is a graphic designer and creative director based in Santa Catarina, Brazil. In a project titled Faces [UN] Bonded, Monreal opens up the faces of actors and models and fills them with flowers. Although some of them might be hard to identify from within the ferocious bloom, you’ll see the faces of Julianne Moore, Cara Delevingne, Christopher Walken, and more. By splitting the model’s/actor’s faces along the fine curvatures of their jaws and down the center, the artist accentuates their physical features. The flowers reveal a deeper, more internal vitality.
The idea for Faces [UN] Bonded comes from a very important memory for Marcelo: an insight passed down from his late mother. As he explains in this interview with Dettona, when his mother was dying, they worked in the garden together, and she told him “we are made of flowers” (Source). Marcelo now continues this understanding of human vulnerability and beauty by filling photos with floral arrangements. He seeks to “think, experiment create, recreate, learn, destroy, rebuild” in his work, encouraging all burgeoning artists to explore their potential in a similar, imperfect, and blossoming ways.
Using discarded inner tubes and a needle and thread, South African artist Hannalie Taute embroiders portraits onto rubber. She takes cuts the abandoned material and cuts them apart to stitch together and form a “canvas.” Often, this means that her subjects have a subtle honeycomb pattern as their backdrop. “Besides the durability and availability of rubber from inner tubes found in car tires, I also decided to embroider on rubber because I find the contrast of working with needle and thread on these inner tubes fascinating,” she says in an artist statement.
As you might imagine, rubber is a tough surface to embroider on. Every stitched line is shown, and Taute isn’t able to seamlessly blend together the different hues. The results are fractured areas of color that abstract her portraits, although not to the point of unrecognition. And, this is partially the idea – to subvert materials. The rubber’s coarse texture is offset by the delicate thread, but at the same time the thread can seem rough with its choppy arrangement.
The artist’s inspiration comes from a number of places, but boil down to identity. She writes:
Titles, words, phrases from books, music, stories, sayings and toys play an integral part in conveying meaning and biographical info about me as a mother, wife and artist in society. Relationships between people and objects are something I prefer to explore using my chosen medium.
Jen Davis has been photographing herself continuously for over a decade. Her series of self-portraits have resulted in a book called ‘11 Years‘ and is a powerful exploration of identity, beauty and body image. Picking up the camera when she was an undergraduate in 2002, she put herself in front of the lens to kick start her creativity.
‘For a long time I was taking photographs and they were always to do with the body, or loneliness, or desire,’ she says. ‘But I was never really comfortable putting myself in front of the camera.’ (Source)
Her photos are at once deeply personal, but still widely universal. These themes she addresses are ones we all know: intimacy, love, insecurity. We see Davis in moments that are intensely private – sitting on her bed fresh from the shower, towel around her head, buttoning up her cardigan; lying in bed in the arms of a lover, looking forlorn and uneasy (Fantasy No 1, 2004). She captures such truthful, non-embellished moments – like the fight to button up clothes that are too small for us, that we can’t help but empathize with her struggle. Davis manages to dispel any ideas of being a victim of obesity. Davis goes on to say:
“In the work what I kept returning to is: What is love? Am I loveable? Can someone find me attractive?… At home with mundane surroundings, I treated the camera as if it were my lover—the camera desiring me, providing me the glimpse of what was missing in my life…..In a way what I was doing was seducing myself. I couldn’t necessarily identify with the idea of someone seeing me as ‘beautiful,’ but I could accept that the pictures that I created and inhabited were. It was a very contradictory experience.” (Source)
Ironically after losing 7 stone, Davis has felt less inclined to turn the camera on herself. To find out what she is photographing now, go here.