We don’t often highlight web design, but I thought that this recent work by Ritxi Ostáriz was worth showing. The site uses a very interesting animated background that uses moving image in quite an entrancing and hypnotic way. Check out the website by clicking here.
Rarely do we encounter things in our daily life that sincerely challenge our sense of self. A close friend showed this to me the other day, and I think its appropriate NO my responsibility to share this with you. Its called Garfield minus Garfield.
Born in 1985, Mike Brodie began photographing when he was given a Polaroid camera in 2004. Working under the moniker ‘The Polaroid Kidd,’ Brodie spent the next four years circumambulating the United States, amassing an archive of photographs that make up one of the few, true collections of American travel photography. Brodie made work in the tradition of photographers like Robert Frank, William Eggleston and Stephen Shore, but due to never having undergone any formal training he always remained untethered to the pressures and expectations of the art market.
Brodie compulsively documented his exploration of the tumultuous world of transient subcultures without regard to how the photographs would exist beyond him. After feeling as though he documented all that he could of his subject, his insatiable wanderlust found a new passion, and as quickly as he began making photographs, he has left the medium to continue in his constant pursuit of new adventures.
Troy Moth was born in a remote tree-planting camp on the west coast of Canada and spent the first few years of life in a tent guarded by large dogs. He loved the wild and abundant nature he grew up immersed in, but eventually the call to adventure became too much and he moved, first across Canada to the big city (Toronto), then across the world to India, to pursue a career in photography.
Troy has worked for numerous commercial and editorial clients, including Vogue, Harper’s Bazaar, Rolling Stone, GQ and many others. But he’s never forgotten his roots, so with a career in fashion now behind him, he’s focusing instead on his art, and living, once again, deep in a forest on the west coast of Canada.
SF-based Shalo P manhandles the space occupied by figurative pop references, and slices up the time it takes for skin and blood to drip out of frames inside of frames. It’s heaps of muscles, genitals, childhood idols, and crushed steel, for the eyes to get sloppy with. I especially enjoy what he has been doing with his coloring method, which has a lo-fi Photoshop (MS Paint aspirations) collage feel. He must be, he just has to be, having a great time. You can go deeper in this Fecal Face interview, catch his latest tumbles, or flick it, and no matter what path you choose you are bound to get excited about this guy’s work. To get physical, pick up DEATH TRIP, a collaborative zine with Peter Gray Hurley, put out by Drippy Bones Books.
Like many directors, Stanley Kubrick (known for such iconic films as The Shining, Clockwork Orange, 2001: A Space Odyssey, and Full Metal Jacket) began his love of film for the medium’s capacity to immediately capture scenes developing around him. The award-winning director’s photographs show early promise, mastering stylistic elements such as composition, lighting, balance and subject, which might not be surprising. However, the young Kubrick’s subject matter, mostly street-scenes with everyday New York and Greenwich Village people, life and struggles, might surprise some coming from the famed science fiction director. The photos, which have a nostalgic tone not necessarily associated with the forward-thinking director, certainly bring a romantic mood to the seemingly simpler time.
Many of these photos were taken during the 1940’s, while Kubrick was employed as a photographer for Look Magazine (a gig he landed while still a student at City College New York). It was while working for Look that Kubrick began associating with the film programs at the Museum of Modern Art, a connection which eventually launched Kubrick into a career in his life-long interest of film. (via everyday-i-show)
Paa Joe’s sculpted coffins blur the line between art and craft. Each work is carefully constructed to reflect the ambition or the trade of the person for whom it was made. They are not dead things but are instead a manifestation of and indeed an affirmation of life. The works are wholly African and are a contemporary embodiment of traditional tribal burial rituals and art practice. They link back to pre-colonial West African sculpture but also recall the pomp and extravagance of ancient Egyptian royal tombs.
An artist of his time, Ryuta Amae is a clever manipulator of images. Could his great, peaceful photography evoke – in the form of vast, luxurious residences or of a Family Robinson type house swamped by palm trees – Paradise, Eden conquered at last and peace for civilisation ? This image of rest is deceiving. For the images here are the result of sage elaborations, of digital crossbreeding and hybrids. From these creations of various all sorts, the reference is the occident’s imagination of happiness, one might as well call it the sublime by default, the coming constantly delayed, condemning us to contemplate beautiful, empty images. «I create a copy, an archetypical image,» the artist explains, «my photo is only a virtual memory.» A skilful way of uniting reality and the imaginary, giving them a connection and a tension, a reactivating of that problem which has always been attached to the image : illusion. -Paul Ardenne