"I'm more interested in a photography that is 'unfinished' - a photography that is suggestive and can trigger a conversation or dialogue. There are pictures that are closed, finished, to which there is no way in."
—Paolo Pellegrin
Labels: Photography
Wednesday, August 19, 2009
Hive Photos
"We worked together like bees -- each doing our little bit, apart from the others, but producing something greater and, ultimately, understood by none of us individually"
(via @GreatDismal)
"We worked together like bees -- each doing our little bit, apart from the others, but producing something greater and, ultimately, understood by none of us individually"
(via @GreatDismal)
Labels: Photography
Wednesday, December 17, 2008
DK's True Blood Titles
Just started getting into True Blood, Alan Ball's latest HBO series about a telepathic waitress in Bon Temps, Louisiana who falls in love with a vampire. Like Ball's previous project, Six Feet Under, the title sequence was created by the talented team over at Digital Kitchen and presents a perverse montage of imagery that perfectly captures the juxtaposition of sinister and spiritual underlying the American South. Better still is the "True Blood Featurette" that links from the same page which I can only assume is a director's cut of the more twisted material that was collected for the project.
UPDATE: I was showing these clips to my friend Doug today and he directed me to some additional "disturbing deep south fun" from the documentaries Searching for the Wrong Eyed Jesus (which we both concluded was a primary influence for the DK title sequence, some footage seeming to be directly lifted from this film) and The True Meaning of Pictures: Shelby Lee Adams' Appalachia of which I can find very little in terms of footage online but did find a gallery of the photographs on which the film was based. Disturbing fun indeed.
Just started getting into True Blood, Alan Ball's latest HBO series about a telepathic waitress in Bon Temps, Louisiana who falls in love with a vampire. Like Ball's previous project, Six Feet Under, the title sequence was created by the talented team over at Digital Kitchen and presents a perverse montage of imagery that perfectly captures the juxtaposition of sinister and spiritual underlying the American South. Better still is the "True Blood Featurette" that links from the same page which I can only assume is a director's cut of the more twisted material that was collected for the project.
UPDATE: I was showing these clips to my friend Doug today and he directed me to some additional "disturbing deep south fun" from the documentaries Searching for the Wrong Eyed Jesus (which we both concluded was a primary influence for the DK title sequence, some footage seeming to be directly lifted from this film) and The True Meaning of Pictures: Shelby Lee Adams' Appalachia of which I can find very little in terms of footage online but did find a gallery of the photographs on which the film was based. Disturbing fun indeed.
Labels: Film, Photography, Television, Title Sequences
Tuesday, October 28, 2008
.謀
Started following .謀's photostream on Flickr when he started following me but I have been obsessed with his work ever since with its strange bleached out nostalgia-like feel. Enjoy.
Started following .謀's photostream on Flickr when he started following me but I have been obsessed with his work ever since with its strange bleached out nostalgia-like feel. Enjoy.
Labels: Photography
Tuesday, October 07, 2008
Field Research: Hot Rods
I've been working on a project for the past two weeks that has found me immersed in the graphic language of rockabilly, burlesque, punk rock, chopper bikes and hot rod cultures. I can't reveal much more than this at the moment but thought I would share with you two of the more unapologetically cooler websites that have crossed my path in the course of my research, both of them harkening back to a simpler time when a woman's place was on the pinup calendar and men were measured by the muscle under their hoods: 60's & 70's Funny Cars.
(Now if I only knew where my old Hot Wheels collection got to...)
I've been working on a project for the past two weeks that has found me immersed in the graphic language of rockabilly, burlesque, punk rock, chopper bikes and hot rod cultures. I can't reveal much more than this at the moment but thought I would share with you two of the more unapologetically cooler websites that have crossed my path in the course of my research, both of them harkening back to a simpler time when a woman's place was on the pinup calendar and men were measured by the muscle under their hoods: 60's & 70's Funny Cars.
(Now if I only knew where my old Hot Wheels collection got to...)
Labels: Field Research, Photography
Tuesday, August 19, 2008
Beggars to Exiles
Currently showing at the San Francisco Art Exchange is Beggars to Exiles: The Photography of Michael Cooper and Dominique Tarle, that documents the Rolling Stones between 1967 and 1971, a period during which the band singlehandedly defined the archetype of the rock n roll star --the fashion, the drug busts, the groupies, the villa in the south of France -- for all who followed.
Though somewhat of a pain to navigate, the online version of the exhibit is quite comprehensive and includes such insights as:
Brilliant.
Currently showing at the San Francisco Art Exchange is Beggars to Exiles: The Photography of Michael Cooper and Dominique Tarle, that documents the Rolling Stones between 1967 and 1971, a period during which the band singlehandedly defined the archetype of the rock n roll star --the fashion, the drug busts, the groupies, the villa in the south of France -- for all who followed.
Though somewhat of a pain to navigate, the online version of the exhibit is quite comprehensive and includes such insights as:
To record "Exile on Main Street" Keith Richards rented Villa Nellcôte, the "Gestapo headquarters during the Second World War," complete with swastikas on the floor vents. The basic band for these sessions is believed to have consisted of Richards, Bobby Keys, Mick Taylor, Charlie Watts, Jimmy Miller, and Jagger when he was available. Bassist Bill Wyman did not like the ambiance of the Richards' villa and sat out many of the French sessions.
Brilliant.
Labels: Music, Photography, Sixties
Monday, February 11, 2008
"..life with the dull bits cut out.."
This month's Hollywood Issue of Vanity Fair features modern day actors, including Seth Rogan and Charlize Theron, photographically recreating classic moments from the films of Alfred Hitchcock. Note the Saul Bass influence on the typography. Super cool.
This month's Hollywood Issue of Vanity Fair features modern day actors, including Seth Rogan and Charlize Theron, photographically recreating classic moments from the films of Alfred Hitchcock. Note the Saul Bass influence on the typography. Super cool.
Labels: Film, Photography
Tuesday, January 08, 2008
Google Earth vs. The Bible
In one of the most blatant epoch incongruities since Spartacus's Rolex-wearing Roman, Australian artists, The Glue Society have rendered satellite photographs of various Biblical events as though seen via Google Earth. Awesome.
In one of the most blatant epoch incongruities since Spartacus's Rolex-wearing Roman, Australian artists, The Glue Society have rendered satellite photographs of various Biblical events as though seen via Google Earth. Awesome.
Labels: Art, Photography, Signs of Our Time
Thursday, October 18, 2007
Separated at Birth?
Wow. Today's post at daily dose of imagery bares an incredibly uncanny resemblance to Jeroen Witvliet's Structures series!
Wow. Today's post at daily dose of imagery bares an incredibly uncanny resemblance to Jeroen Witvliet's Structures series!
Labels: Art, Jeroen Witvliet, Photography
Tuesday, October 16, 2007
Keep Your Eyes Open
Glen E. Friedman got his start in photography shooting images of the legendary Z-boys skating backyard pools. From there he would go on to take some of the most definitive portraits of early hip hop and hardcore punk pioneers including the Beastie Boys, RunDMC and Black Flag and as a result is considered to be one of the most important photographers of his generation.
Just released this past month, Friedman's new book, Keep Your Eyes Open, chronicles his pictorial relationship with the band Fugazi, possibly one of the most important bands to have ever entered this writer's eardrums.
Says the website:
"KEEP YOUR EYES OPEN: The Fugazi Photographs of Glen E. Friedman was released by Burning Flags Press exactly 20 years [after Fugazi's first concert on September 3, 1987]. The 112-page, 9 x11 hardcover book presents the best of Friedman's unparalleled photographic documentation of Fugazi's members in almost 200 color and black & white images captured by Friedman onstage and off between 1986 and Fugazi's last U.S. concert in 2002. As Fugazi's Ian MacKaye explains, 'While most photographers were taking photos of Fugazi, Glen was making photos with us.'"
As a final note, while surfing the web on this topic, I also came across this footage of Fugazi performing Turnover outside of the White House in 1991 at a protest against the first Gulf War. Incredible.
Glen E. Friedman got his start in photography shooting images of the legendary Z-boys skating backyard pools. From there he would go on to take some of the most definitive portraits of early hip hop and hardcore punk pioneers including the Beastie Boys, RunDMC and Black Flag and as a result is considered to be one of the most important photographers of his generation.
Just released this past month, Friedman's new book, Keep Your Eyes Open, chronicles his pictorial relationship with the band Fugazi, possibly one of the most important bands to have ever entered this writer's eardrums.
Says the website:
"KEEP YOUR EYES OPEN: The Fugazi Photographs of Glen E. Friedman was released by Burning Flags Press exactly 20 years [after Fugazi's first concert on September 3, 1987]. The 112-page, 9 x11 hardcover book presents the best of Friedman's unparalleled photographic documentation of Fugazi's members in almost 200 color and black & white images captured by Friedman onstage and off between 1986 and Fugazi's last U.S. concert in 2002. As Fugazi's Ian MacKaye explains, 'While most photographers were taking photos of Fugazi, Glen was making photos with us.'"
As a final note, while surfing the web on this topic, I also came across this footage of Fugazi performing Turnover outside of the White House in 1991 at a protest against the first Gulf War. Incredible.
Labels: American Hardcore, Music, Photography
Wednesday, June 27, 2007
The Hyena Men
I stumbled upon the above image while researching a project that I am currently working on for a youth organization based out of Rwanda (Note: the above image is not in the least related to or suggestive of the direction that I am going on that project. Think complete 180°). I guess Boing Boing threw this photo into the blog feedpen a couple of years back causing a bit of a frenzy and inciting a number of very wrongly assumed explanations for why this man is standing in the middle of the street with a chained up hyena for a pet (a particular favourite caption was that he is a debt collector; another alluded to undisputed "badassitude").
The photograph is one in a series by Pieter Hugo called The Hyena Men of Nigeria. Turns out that the subject is a member of a group of entertainers from Nigeria, who travel across the country with three hyenas, two pythons and four monkeys. As innocent as that sounds (well, more innocent than the debt collector scenario at any rate) I can't get over the apocalyptic vision that is composed in these shots. Totally surreal.
Other work by Hugo can be found here.
I stumbled upon the above image while researching a project that I am currently working on for a youth organization based out of Rwanda (Note: the above image is not in the least related to or suggestive of the direction that I am going on that project. Think complete 180°). I guess Boing Boing threw this photo into the blog feedpen a couple of years back causing a bit of a frenzy and inciting a number of very wrongly assumed explanations for why this man is standing in the middle of the street with a chained up hyena for a pet (a particular favourite caption was that he is a debt collector; another alluded to undisputed "badassitude").
The photograph is one in a series by Pieter Hugo called The Hyena Men of Nigeria. Turns out that the subject is a member of a group of entertainers from Nigeria, who travel across the country with three hyenas, two pythons and four monkeys. As innocent as that sounds (well, more innocent than the debt collector scenario at any rate) I can't get over the apocalyptic vision that is composed in these shots. Totally surreal.
Other work by Hugo can be found here.
Labels: Photography, World at Large
Wednesday, May 23, 2007
A Field Guide to Military Urbanism
A current favourite online visit, Bryan Finoki's Subtopia is a discourse on military urbanism, the architecture of occupation and oppression, and the overarching question of why we, as humans, have it in our nature to build walls between ourselves.
To give you an idea of the subject matter, a recent entry features Jonathan Olley's stark, haunting photos of Northern Ireland's police stations, barracks and watchtowers; structures from a troubled past that are quickly disappearing to progress; to be too readily forgotten rather than stand as a reminder/memorial of how very wrong the world can sometimes turn.
Finoki writes:
"While [these] photos are evidence of a distinctly terrorized Irish landscape the more frightening truth about them for me is that they could almost be, in so many regards, the filmic traces of any number of places around the world today.
If we were just to focus on the brutish walls and violent features of defensive accouterment, it wouldn't be that inconceivable to mistake N. Ireland for, say, parts of Jerusalem or Gaza, or even Johannesburg, maybe downtown Manilla for that matter - possibly a neighborhood in central Egypt or Lebanon; conflicted places which are facing some of their own most cruel histories with political walls and entangled battle urbanism still today."
A current favourite online visit, Bryan Finoki's Subtopia is a discourse on military urbanism, the architecture of occupation and oppression, and the overarching question of why we, as humans, have it in our nature to build walls between ourselves.
To give you an idea of the subject matter, a recent entry features Jonathan Olley's stark, haunting photos of Northern Ireland's police stations, barracks and watchtowers; structures from a troubled past that are quickly disappearing to progress; to be too readily forgotten rather than stand as a reminder/memorial of how very wrong the world can sometimes turn.
Finoki writes:
"While [these] photos are evidence of a distinctly terrorized Irish landscape the more frightening truth about them for me is that they could almost be, in so many regards, the filmic traces of any number of places around the world today.
If we were just to focus on the brutish walls and violent features of defensive accouterment, it wouldn't be that inconceivable to mistake N. Ireland for, say, parts of Jerusalem or Gaza, or even Johannesburg, maybe downtown Manilla for that matter - possibly a neighborhood in central Egypt or Lebanon; conflicted places which are facing some of their own most cruel histories with political walls and entangled battle urbanism still today."
Labels: Architecture, Photography, World at Large
Thursday, May 03, 2007
An Intolerable Beauty
Chris Jordan's photographic essays seem to always be preoccupied with uncovering beauty in the spoils of our society. Discarded circuit boards take on a patchwork air, while a rack of waterlogged dresses hints at a rainbow in the otherwise twisted wake of a post-Katrina New Orleans. In his series Running the Numbers, he uses statistics as his subject, producing compelling large scale photographic collages that serve as visual representations of societal numbers that are often too collosally abstract to even try to comprehend.
As Jordan states: "I am appalled by these scenes, and yet also drawn into them with awe and fascination. The immense scale of our consumption can appear desolate, macabre, oddly comical and ironic, and even darkly beautiful; for me its consistent feature is a staggering complexity."
Chris Jordan's photographic essays seem to always be preoccupied with uncovering beauty in the spoils of our society. Discarded circuit boards take on a patchwork air, while a rack of waterlogged dresses hints at a rainbow in the otherwise twisted wake of a post-Katrina New Orleans. In his series Running the Numbers, he uses statistics as his subject, producing compelling large scale photographic collages that serve as visual representations of societal numbers that are often too collosally abstract to even try to comprehend.
As Jordan states: "I am appalled by these scenes, and yet also drawn into them with awe and fascination. The immense scale of our consumption can appear desolate, macabre, oddly comical and ironic, and even darkly beautiful; for me its consistent feature is a staggering complexity."
Labels: Art, Disasters, Edge of Chaos, Photography
Wednesday, February 28, 2007
Art I Pass By On My Way to Work - #1
Wednesday, January 31, 2007
Look Again
As a follow up to last week's post on the Whole Earth Campaign it seems that at this rather crucial juncture in the relationship between ourselves and our planet, we are again being encouraged to observe, contemplate and allow ourselves to be overcome by the profound image of the Earth from outer space.
As a follow up to last week's post on the Whole Earth Campaign it seems that at this rather crucial juncture in the relationship between ourselves and our planet, we are again being encouraged to observe, contemplate and allow ourselves to be overcome by the profound image of the Earth from outer space.
Labels: Photography, World at Large
Sunday, January 14, 2007
Coaxing Light To Caress
(Pictured above: Robbie Robertson, Michael McClure, Bob Dylan & Alan Ginsberg) Regardless of whether the Sixties revolution changed the world, the dirt and the details have long since blurred into myth, once again allowing the ideals of the time to appear untarnished (though perhaps a little too naive), and its characters to rise to the realm of legend. No where is this more evidant than in the work of the era's great cultural photographers: Jim Marshall (above), Gene Anthony, Baron Wolman and others are featured over at Wolfgang's Vault.
(Pictured above: Robbie Robertson, Michael McClure, Bob Dylan & Alan Ginsberg) Regardless of whether the Sixties revolution changed the world, the dirt and the details have long since blurred into myth, once again allowing the ideals of the time to appear untarnished (though perhaps a little too naive), and its characters to rise to the realm of legend. No where is this more evidant than in the work of the era's great cultural photographers: Jim Marshall (above), Gene Anthony, Baron Wolman and others are featured over at Wolfgang's Vault.
Labels: Music, Photography, Sixties
Wednesday, November 15, 2006
No Ritual Can Heal
Currently showing at the Met and corresponding with a book of the same name, Robert Polidori's New Orleans After the Flood: Photographs hauntingly documents the post-Katrina devastation of the once Big Easy. With the same passion that affected his photographic essay on Chernobyl in 2001, Polidori once again succeeds in capturing the magnitude of loss and human folly in each frame.
For more info check out John Updike's review of After the Flood in the New York Times Review of Books.
Currently showing at the Met and corresponding with a book of the same name, Robert Polidori's New Orleans After the Flood: Photographs hauntingly documents the post-Katrina devastation of the once Big Easy. With the same passion that affected his photographic essay on Chernobyl in 2001, Polidori once again succeeds in capturing the magnitude of loss and human folly in each frame.
For more info check out John Updike's review of After the Flood in the New York Times Review of Books.
Labels: Art, Disasters, Photography, World at Large
Friday, October 20, 2006
Dr. Strangelove / Dr. Strangelove
After taking a crack at Viking's Stationery Movies Contest (scored 18/20 while playing fair), I was reminded of Kristan Horton's Dr. Strangelove Dr. Strangelove photo project in which he ingeniously replicates stills from the film using everyday objects from around his studio.
After taking a crack at Viking's Stationery Movies Contest (scored 18/20 while playing fair), I was reminded of Kristan Horton's Dr. Strangelove Dr. Strangelove photo project in which he ingeniously replicates stills from the film using everyday objects from around his studio.
Labels: Film, Photography
Wednesday, August 30, 2006
Link Trolling: Brazil
From Diplo's Mad Decent Worldwide Radio: "its crazy here in Rio.. guns go missing and police go to war with poor people and then i get kicked out of my apt and i got no internet access.. but heres a random mix."
It was Diplo's show with Brazilian acts, Cansei de Ser Sexy (who win the title of Dance Hit of the Summer with the brilliant "Let's Make Love and Listen to Death From Above") and Bonde do Role a few weeks ago at Celebrities here in Vancouver that first made me take notice and begin to wonder "what the heck is going on in Brazil?" The energy from both of these bands was raw and unrefined. These were acts that would never have seen the outside of the Brazilian club scene if it weren't for MySpace.com and the endorsement of a worldclass dj like Diplo who, it seems has made Rio his second home.
Another discovery via Diplo that churned up while surfing the net this evening: the work of Leandro HBL, a director, photographer, designer etc. who did some time at Fabrica. Great, great work.
The next stop on my journey, an old favorite: the fantastic art of Alexandre Orion, which combines street art and photography to create often comic and poignant stories. This led me to consult a source who knows far better than me of other instances of Brazilian street art which ultimately brought an end to my surf as I settled in with this enchanting video entitled "Brilliant Tyger".
Whew! So the answer to "What the heck is going on in Brazil?", it would seem a whole heck of a lot!
From Diplo's Mad Decent Worldwide Radio: "its crazy here in Rio.. guns go missing and police go to war with poor people and then i get kicked out of my apt and i got no internet access.. but heres a random mix."
It was Diplo's show with Brazilian acts, Cansei de Ser Sexy (who win the title of Dance Hit of the Summer with the brilliant "Let's Make Love and Listen to Death From Above") and Bonde do Role a few weeks ago at Celebrities here in Vancouver that first made me take notice and begin to wonder "what the heck is going on in Brazil?" The energy from both of these bands was raw and unrefined. These were acts that would never have seen the outside of the Brazilian club scene if it weren't for MySpace.com and the endorsement of a worldclass dj like Diplo who, it seems has made Rio his second home.
Another discovery via Diplo that churned up while surfing the net this evening: the work of Leandro HBL, a director, photographer, designer etc. who did some time at Fabrica. Great, great work.
The next stop on my journey, an old favorite: the fantastic art of Alexandre Orion, which combines street art and photography to create often comic and poignant stories. This led me to consult a source who knows far better than me of other instances of Brazilian street art which ultimately brought an end to my surf as I settled in with this enchanting video entitled "Brilliant Tyger".
Whew! So the answer to "What the heck is going on in Brazil?", it would seem a whole heck of a lot!
Labels: Design, Music, Photography, Podcast, Street Level, World at Large
Tuesday, April 18, 2006
The Return of Fotologue.jp
Just over a year ago I posted an entry about my experience acquiring a fotologue.jp account for Industrial Brand Creative. As I reported, at that time there was no English whatsoever on the site and one required an invitation in order to join. Almost immediately after our success with acquiring an account, I began receiving emails from people from all over the world asking me how I had done it and could I help them in securing one of their own. Unfortunately, I could not offer them an easy answer.
Recently however, fotologue has launched a new site that is open to the public and has been translated (with typical Japanese accuracy) into English. There are still a few bugs but it also has a number of new features that should make it even more user friendly. At the very least, it offers an aesthetically pleasing alternative to flickr.com of which I have never really been a fan.
And so to commemorate my own new fotologue account, I have posted a few photos from my recent trip to Los Angeles. Enjoy.
Just over a year ago I posted an entry about my experience acquiring a fotologue.jp account for Industrial Brand Creative. As I reported, at that time there was no English whatsoever on the site and one required an invitation in order to join. Almost immediately after our success with acquiring an account, I began receiving emails from people from all over the world asking me how I had done it and could I help them in securing one of their own. Unfortunately, I could not offer them an easy answer.
Recently however, fotologue has launched a new site that is open to the public and has been translated (with typical Japanese accuracy) into English. There are still a few bugs but it also has a number of new features that should make it even more user friendly. At the very least, it offers an aesthetically pleasing alternative to flickr.com of which I have never really been a fan.
And so to commemorate my own new fotologue account, I have posted a few photos from my recent trip to Los Angeles. Enjoy.
Labels: Asia, Collaborators, Industrial Brand Creative, Japan, LA, Photography, Shameless Self Promotion
Saturday, March 25, 2006
France through a Pinhole
Jane and I checked out Dianne Bos' Verre et Mer exhibit at the Jennifer Kostuik Gallery this afternoon which showcases pinhole photographs from the Southwest of France. Beautiful and haunting imagery with an amazing sense of nostalgia filtering through the light of the photographs. In fact, Bos writes that "Viewers have said that my work evokes the memory-image that remains for them long after they have viewed a familiar location."
Jane and I checked out Dianne Bos' Verre et Mer exhibit at the Jennifer Kostuik Gallery this afternoon which showcases pinhole photographs from the Southwest of France. Beautiful and haunting imagery with an amazing sense of nostalgia filtering through the light of the photographs. In fact, Bos writes that "Viewers have said that my work evokes the memory-image that remains for them long after they have viewed a familiar location."Labels: Art, Photography, Vancouver Galleries
Monday, March 13, 2006
Edward Burtynsky's China
My own personal experience has taught me that China is a force to be reckoned with. As it careens forth into this century - a century that most have already conceded that it will dominate - gaining momentum at every turn, one is left to ponder how anyone is going to keep a hold of the reigns.
Edward's Burtynsky's photographs, recently compiled in the book Burtynsky - China, document the harsher side of this burgeoning rise and provide a rare glimpse into the hefty price of progress.
My own personal experience has taught me that China is a force to be reckoned with. As it careens forth into this century - a century that most have already conceded that it will dominate - gaining momentum at every turn, one is left to ponder how anyone is going to keep a hold of the reigns.
Edward's Burtynsky's photographs, recently compiled in the book Burtynsky - China, document the harsher side of this burgeoning rise and provide a rare glimpse into the hefty price of progress.
Labels: Asia, Photography, World at Large
Tuesday, March 07, 2006
The Tilt-Shift Phenomenon
Okay, so "phenomenon" might be a little overstated, but there has been a pronounced trend online lately towards using or replicating a tilt-shift lens effect to make a normal photograph look like a miniature. Sam Javanrouh over at daily dose has produced some really interesting results with it here, here and, with a slight twist, here. So has his friend Shahin. And this morning, PingMag featured images of a "Tiny Tokyo" inspired by the work of Olivo Barbieri.
Very cool effect. You can learn how to do this to your own photos from this tutorial over at Receding Hairline. Here are a few of my initial attempts.
Check out the submissions that we received over at the Industrial Brand Blog for more examples and links.
Okay, so "phenomenon" might be a little overstated, but there has been a pronounced trend online lately towards using or replicating a tilt-shift lens effect to make a normal photograph look like a miniature. Sam Javanrouh over at daily dose has produced some really interesting results with it here, here and, with a slight twist, here. So has his friend Shahin. And this morning, PingMag featured images of a "Tiny Tokyo" inspired by the work of Olivo Barbieri.
Very cool effect. You can learn how to do this to your own photos from this tutorial over at Receding Hairline. Here are a few of my initial attempts.
Check out the submissions that we received over at the Industrial Brand Blog for more examples and links.
Labels: Collaborators, Industrial Brand Creative, Photography
Monday, February 06, 2006
Pop Cultures Collide
The *ahem* Bradgelina paparazzi angle of this story still has me leery to post this but the whole "life imitating art imitating life" on multiple levels was just too much not to. Plus, the Sonic Youth "Goo" album cover is sweet. The play by play from WFMU:
Be sure to note the boyfriend stealing reference on the SY album. Too perfect.
The *ahem* Bradgelina paparazzi angle of this story still has me leery to post this but the whole "life imitating art imitating life" on multiple levels was just too much not to. Plus, the Sonic Youth "Goo" album cover is sweet. The play by play from WFMU:
A paparazzi photo of Angelina Jolie and Brad Pitt in the back seat of a car from 2005, Raymond Pettibon's artwork for Sonic Youth's album "Goo" from 1990, which is based on a paparazzi photo of David and Maureen Smith (two people named Mr. and Mrs. Smith) driving to the Ian Brady and Myra Hindley trial in 1966. Plate of shrimp, anyone?
Be sure to note the boyfriend stealing reference on the SY album. Too perfect.
Labels: Music, Photography, Raymond Pettibon, Signs of Our Time
Monday, November 28, 2005
The Paranoiac Space
of Modernism
I've been searching for a decent link to photographer Dave Maisel's series "Oblivion" —brilliant and terrifying aerial photos of the LA sprawl—ever since I fist saw it featured in the September issue of Dwell Magazine. On his subject, Maisel writes:
"In his book “Warped Space,” the architectural theorist Anthony Vidler speaks of the 'paranoiac space of modernism,' a space which is 'mutated into a realm of panic, where all limits and boundaries become blurred…' These words come to mind when considering the urban aerial images of Los Angeles and its periphery shown here, excerpted from my photographic project called Oblivion."
of Modernism
I've been searching for a decent link to photographer Dave Maisel's series "Oblivion" —brilliant and terrifying aerial photos of the LA sprawl—ever since I fist saw it featured in the September issue of Dwell Magazine. On his subject, Maisel writes:
"In his book “Warped Space,” the architectural theorist Anthony Vidler speaks of the 'paranoiac space of modernism,' a space which is 'mutated into a realm of panic, where all limits and boundaries become blurred…' These words come to mind when considering the urban aerial images of Los Angeles and its periphery shown here, excerpted from my photographic project called Oblivion."
Labels: Art, Edge of Chaos, LA, Photography
Thursday, November 17, 2005
Left Behind
There is something eerily resounding in the utter silence of abandoned buildings. No longer with purpose, emptied of their human charge, they stand as physical prophecies to the conquest of time and the inevitable reinstatement of nature.
Check out these spectacular images of Abandoned Japan (via the Skinny). And if you are left wanting more there is a very comprehensive listing of similar urban skeletons at Ruins and Urban Exploration.
There is something eerily resounding in the utter silence of abandoned buildings. No longer with purpose, emptied of their human charge, they stand as physical prophecies to the conquest of time and the inevitable reinstatement of nature.
Check out these spectacular images of Abandoned Japan (via the Skinny). And if you are left wanting more there is a very comprehensive listing of similar urban skeletons at Ruins and Urban Exploration.
Labels: Art, Disasters, Japan, Photography, World at Large
Tuesday, April 19, 2005
Portfolio Update — svenboecker.com
Industrial Brand Creative just launched our friend and photographer Sven Boecker's website. It is ultra clean and simple with a slick Flash engine underneath. Not to mention of course: beautiful photography.
Industrial Brand Creative just launched our friend and photographer Sven Boecker's website. It is ultra clean and simple with a slick Flash engine underneath. Not to mention of course: beautiful photography.
Labels: Collaborators, Design, Photography, Shameless Self Promotion
Tuesday, March 08, 2005
Big in Japan
A couple of months ago, I stumbled upon a photoblog website out of Japan called fotologue.jp. Its clean and dynamic interface far surpassed anything that we had seen in the North American market. It seemed like an excellent B-side for the Industrial Brand Creative website at the very least; a third cornerstone (along with the blog) for our online community at best. So after a number of false starts and emails lost in translation, we were finally invited to register for our own page.
The idea was to create a dynamic online billboard - posting a new photo everyday - that reinforces the IBC brand by using the images that we have made an integral part of the new IBC look but presenting them in a purely aesthetic form. It is soft marketing to be sure, but it introduces us to a new market while at the same time providing an outlet for the artistic side of the company that so often gets lost amidst the case studies and mission statements.
Much thanks to Reiko Nakatsukasa as well as Jennifer Bukloh and Kinya Horikoshi at Photonica and everyone at Amana for getting this launched. Domo arigatou gozaimashita!
A couple of months ago, I stumbled upon a photoblog website out of Japan called fotologue.jp. Its clean and dynamic interface far surpassed anything that we had seen in the North American market. It seemed like an excellent B-side for the Industrial Brand Creative website at the very least; a third cornerstone (along with the blog) for our online community at best. So after a number of false starts and emails lost in translation, we were finally invited to register for our own page. The idea was to create a dynamic online billboard - posting a new photo everyday - that reinforces the IBC brand by using the images that we have made an integral part of the new IBC look but presenting them in a purely aesthetic form. It is soft marketing to be sure, but it introduces us to a new market while at the same time providing an outlet for the artistic side of the company that so often gets lost amidst the case studies and mission statements.
Much thanks to Reiko Nakatsukasa as well as Jennifer Bukloh and Kinya Horikoshi at Photonica and everyone at Amana for getting this launched. Domo arigatou gozaimashita!
Labels: Asia, Collaborators, Industrial Brand Creative, Japan, Photography, Shameless Self Promotion
