Category Archives: ART
Interiors (a film and architecture journal in which films are analyzed and diagrammed in terms of space) recently had the opportunity to attend two shows of Kanye West’s Yeezus tour. After gaining some insight, they’ve managed to publish one of the most thorough breakdowns of Kanye West’s modern-day performance.
“Kanye has said that the initial vision for The Yeezus Tour came from imagining the end of the world. The visuals of explosions, fire, mountains, masked beings, creatures and God all make their way into the experience of the show.”
“During his performance at the Barclay’s Center In Brooklyn, New York, on November 19, 2013, Kanye West expressed that Alejandro Jodorowsky’s film The Holy Mountain (1973) was an important touchstone for the design of the tour. The Holy Mountain is about a Christ-like figure who wanders through bizarre scenarios filled with religious imagery. The man meets a guide, as well as seven influential people, and all nine embark on a journey seeking “The Holy Mountain.” There are various aspects of the show that are influenced from the film, including the stage, which includes a mountain, the choreographed installation of nude women, masks and inclusion of a holy figure. In the opening minutes of the film, a thief’s face is covered in black flies, a visual reference for one of Maison Martin Margiela’s masks, designed for the show.
The influence from The Holy Mountain, however, is more thematic than visual. The film, much like the show, is an experience and asserts its focus on a biblical redemption story; similarly, Kanye West’s show is focused on a similar journey, one of self-realization and self-discovery, as evidenced through the five chapters of the show: Fighting, Rising, Falling, Searching and Finding. These chapters are used to separate the set list and also as a slight break for wardrobe changes.”
The Nara-based artist began creating clothes as a hobby, mainly for her family. “My son was of a smaller build and store-bought clothes wouldn’t fit him well so I would often make him clothes,” explains Kubota. “It was actually at his request that I began embroidering cats.”
As it turns out, Kubota’s son is somewhat of a cat fanatic and enjoys collecting images of cute cats he finds on the Internet. His favorite ones would become models for embroideries.
After posting her creations online they quickly went viral (like most Internet cats do), prompting Kubota to open an etsy shop 6 months ago. Despite the hefty price tag for a shirt ($250 – $300) she quickly racked up 15 sales and her current inventory is looking a bit slim.
Created by Amsterdam-based designer Ruben Pater, the Drone Survival Guide(big pic) is, on one side, a rough bird watcher’s guide to the modern robot at war. The other side is a short section of printed survival tips, and the guides are available in Pashto, Dutch, German, Italian, Indonesian, Arabic, and English.
“Our ancestors could spot natural predators from far by their silhouettes. Are we equally aware of the predators in the present-day? Drones are remote-controlled planes that can be used for anything from surveillance and deadly force, to rescue operations and scientific research. Most drones are used today by military powers for remote-controlled surveillance and attack, and their numbers are growing. The Federal Aviation Administration (FAA) predicted in 2012 that within 20 years there could be as many as 30.000 drones flying over U.S. Soil alone. As robotic birds will become commonplace in the near future, we should be prepared to identify them. This survival guide is an attempt to familiarise ourselves and future generations, with a changing technological environment.”
Peruvian designer Sebastián Burga has created a playful set of toys called Minimals, which are sort of like LEGO-inspired figures. Made up of colorful blocks, you can put these odd characters together in just a few simple steps.
The name derives, at a time, from the word “Minimalism” and the contraction of “Mini-Animals”. Certainly, they’re set out to expose the essence of toyness through eliminating all non-essential forms, features and concepts. Together, they create a pantone of colors, animals, clothes, styles and archetypes, encouraging people to find themselves between them.
As you can see from the images above and below these figures are full of personality, and Sebastián has done a great job of brining that fun into every aspect of the branding, even the directions to put them together. You can see a ton more photos of the Minimals by clicking here.
As part of the launch of All-New Marvel NOW! in 2014, the comics/movie/tv giant commissioned some pretty awesome art featuring some of their most popular characters as animals. The Magneto and Ghost Rider ones are definitely the best, though it’s seriously missing a “Peter Porker, Spider-Ham” drawing.
Streetwear brand Mishka and Nickelodeon cartoon SpongeBob have joined forces for a small capsule collection that features an evil SpongeBob on a skateboard deck and t-shirts. Artist L’Amour Supreme designed the graphics for the holiday collection which is available at MishkaNYC.com
The combined talents of DJs Guy-Manuel de Homem-Christo and Thomas Bangalter, the pair’s first projects together included Darling, a voiceless indie cover band; their current recording name derives from a review in U.K. music weekly Melody Maker of a compilation tape Darling were featured on, released by Krautrock revivalists Stereolab (their lo-fi D.I.Y. cover of a Beach Boys song was derided as “daft punk”). Subsequently ditching the almost inevitable creative cul-de-sac of rock for the more appealing rush of the dancefloor, the pair released their debut single, “The New Wave,” in 1993 on the celebrated Soma label. Instantly hailed by the dance music press as the work of a new breed of house innovators, the single was followed by “Da Funk,” the band’s first true hit (the record sold 30,000 copies worldwide and saw thorough rinsings by everyone from Kris Needs to the Chemical Brothers).
Perpetually innovative and consistently creative, Pharrell Williams has recently launched the visuals for his Despicable Me 2 single “Happy” – completely stretching the capacity of the music video medium in the process. Williams channels the feeling of playing your favorite song walking down the sidewalk by recording a 24-hour sample of his life, looping the track in the background. Through menial tasks like going to the store or navigating a crowd, Skateboard P keeps thing interesting with cameos from Magic Johnson, Steve Carrell and even Odd Future, as well as some charming choreography.
Jay Z‘s enthusiasm for art has been widely noted throughout his music, with his appreciation for the likes of Picasso, Andy Warhol and Jeff Koons resulting in continuous lyrical name-drops throughout his recent music, and now, Hov has acquired a piece by Jean-Michel Basquiat. Titled Mecca, the 1982 piece was purchased at Sotheby’s in Manhattan, and just the latest addition to Jay Z’s growing selection of Basquiat works, with Hov posting a picture online recently of him and recent Roc Nation signee Jeezy beside one of his other Basquiat pieces.
Do yourself a favour. Take five a get ready to have your mind blown by this amazing executed video of some of the best graffiti you’ll see.
Take four graffiti artists, an abandoned warehouse interior, and an unlimited amount of spraypaint and what do you get? Probably the greatest timelapse graffiti film you’ve seen this year! The featured Brisbane warehouse was scheduled to be demolished, so street artists Sofles, Fintan Magee, Treas, and Quench went hard on the space. Filmmaker Selina Miles followed their every step, and created this awesome time-lapse video of the project.
If you were blown away by this amazing video, here are some links to follow the artists and show some love.
Shot/Cut: Selina Miles.
Art by SOFLES, Fintan Magee, Treas, Quench.
Soundtrack by DJ Butcher (track-listing below).
DJ Butcher track-listing:
1. Get Busy Pt. 2
3. All in check.
Candice Swanepoel stripped down in front of Matt Jones’ lens for i-D Magazine‘s recent “Collector’s Issue,” which features an extensive article on two of New York City’s art and fashion scene’s most notorious figures – Brian Donnelly aka KAWS and Supreme mastermind James Jebbia. Accordingly, we see the South African stunner amongst the artist’s distinct illustrations while holding a Supreme skateboard and wearing oversized “Companion” gloves.
Harpers Bazar Interview –
A Murakami piece is instantly recognizable—brightly colored, high gloss, childlike, futuristic. As a young man, Murakami was obsessed with anime and manga, and those qualities infuse his work today. Having achieved cult status in his native Japan, he was tapped in 2002 by Marc Jacobs to design a line of handbags for Louis Vuitton. It remains the most successful fashion-art collaboration in history. In 2007, a retrospective, titled “© Murakami,” opened at L.A.’s Museum of Contemporary Art, and in 2010 he became only the third contemporary artist to have a solo exhibition at the Château de Versailles. His cultural currency is global and inclusive, encouraging young artists through his art fair, Geisai, as well as children and their imagination in his new feature film, Jellyfish Eyes. Murakami may call his style “superflat,” referring both to his technique and to postwar Japanese culture, but in the art world he’s a superhero.
Laura Brown: When did you know you’d become not just “big in Japan” but a huge voice in the cultural world?
Takashi Murakami: I actually feel like the phrase “big in Japan” is not appropriate for me. The reason is that there are more people who sympathize with my practice in America than there are domestically in Japan. In Japan I am famous in certain special circles—mainly as someone who is trying to break down and enlighten the conventions of Japanese art. Rather than a big figure, I guess you could say I’m more of an influential minority symbol.
LB: How do you use that voice now?
TM: In Japan I focus mostly on sending messages through Twitter, trying to spread my minority way of thinking. And what is that way of thinking? Something that, in the West, is generally considered a given—that to create art, we must study history and from that context try to envision the future. In Japan the majority way of thinking is that art is, and should be experienced as is, and that any preconceived ideas will only get in the way.
LB: What inspired you to make Jellyfish Eyes? Why a “monster” movie?
TM: The inspiration was a manga called GeGeGe no Kitaro. When I was six it was the first manga I ever had my parents buy for me, and that experience accidentally formed the basis for the rest of my life. It was a completely chance encounter, so there’s nothing I can do to escape it.
LB: Who is your favorite creature, and why? If you were one of your creatures, which one would you be?
TM: That would be Oval—a pitiful creature who has no desire to be born into this world but is summoned anyway by scientists. In his surprise he reacts violently and is cast as a pariah, eventually being led back to the netherworld. Basically he is my self-portrait. Though I wouldn’t want to become him, this self-portrait, Oval, is my ultimate F.R.I.E.N.D.
LB: Jellyfish Eyes deals with how the younger generation communicates. How do you capture that?
TM: In fact, the children in the story are imbued with my own childhood memories. So in a sense I’ve set the landscape of the children of the ’60s within the everyday life of the present day.
LB: Considering all your accomplishments in 2-D (and you’ve called your style “superflat”), what inspired you to make a live-action film?
TM: In the past I was unable to create a narrative, so I’d given up becoming a filmmaker. But since then I’ve been a radio personality and given speeches, which means I’ve had a lot of opportunities to speak in front of others. In other words, the act of speaking has been a natural practice in the act of crafting a story; the tales I want to tell now come to me. However, I am still lacking in the grammar necessary to tell stories in a cinematic format— I hope to in the future.
LB: How was the experience of directing a film versus your usual artistic method? Which do you prefer?
TM: The breadth of collaboration required was a bit too much for me at first, but I had a supportive group of producers, and as we devoted time to clearing each point one by one, I grew to enjoy it. The world of film as a collective artwork expanded for me, and the production itself became its own drama, packed with emotions. I had so much fun, I could hardly contain myself.
LB: Would you ever want to make a film that was more rooted in reality?
TM: I have this idea for a sweet comedy about death. A middle-aged author of e-books, with middling sales, retreats deep into the mountains of Japan to build a grave for his recently deceased father. After getting scammed out of all of his money, he falls into despair, but for some unknown reason he is visited by a savior in the form of a middle-aged woman. And then his divorced wife from 10 years ago appears unexplainably too. Then this young woman with whom he spent a single night in a club many years ago is being treated for an incurable disease in the mountainside sanatorium, and she comes to him for emotional support. I’d love to do that story.
LB: One of your most famous collaborations was with Marc Jacobs for Louis Vuitton. Now that he has left the house, would you like to collaborate with him again?
TM: The credit for the success of the Louis Vuitton Multicolore project belongs to Marc Jacobs. He was the creative director, and I followed his direction. A single lifetime is not enough to express the gratitude I have to him for making it into a collaboration with such impact. If Marc were to ever call on me again, I would rally to the task in an instant.
LB: Is there another designer you would be interested in working with?
TM: Well, it’s not really a designer, but for the past 10 years, over 95 percent of the shoes I have worn have been Vans sneakers. So I’d like to try a collaboration with Vans sometime. Who knows?
LB: What’s your order at In-N-Out?
TM: Cheeseburger and fries. The problem whenever I come to America is that the hamburgers are so delicious, I end up eating one every two days and fattening myself into a round ball.
LB: What are your favorite and least favorite things about American culture?
TM: What I like about America is that when you strive to have the world’s best, you are surrounded by a mentality that gives you the best preparation for getting it, and it is possible to achieve the world’s highest standard in creative expression. And when you do reach the world’s highest standard in creative expression, people here will give you your proper due. I also like the fact that it is the most advanced nation in terms of its space program. What I don’t like is that America’s reality is built upon the theory that it must always be at war.
LB: What’s next? Can you give us any clues on your next project?
TM: Jellyfish Eyes … Part 2! I also feel like it’s about time I stirred things up in New York again, something I haven’t done in a while.
LB: What’s your fantasy project?
TM: Some form of a collaboration with J.J. Abrams.
Dark Horse Comics piggybacking off of the moderate success of a series of commercials featuring Godzilla and Charles Barkley playing basketball against each other, Dark Horse decided to adapt the premise into comic book form.
The result is one of the most ludicrous stories ever to be printed in a comic. But what’s even more bizarre is the fact that Barkley was actually portrayed as being the same height as Godzilla.
Barkley cheats unapologetically. While to the right we see Matthew and his grandfather watching the game alongside Jack Nicholson, Rush Limbaugh and Bill Cosby.
Either way, I want it on a tee!
NOWHERE and A Bathing Ape present “BAPELAND,” an exhibition held in NIGO‘s former home and studio in Tokyo. Considered the heart and soul of the brand, NIGO’s former studio served as a repository for the vast trove pop-culture pieces the designer has accrued throughout his life. For the brand’s 20th anniversary, it has decided to open up the studio to let fans get a closer look at this treasure chest of good. The exhibition includes iconic BAPE pieces, cars, furniture, art, jewelry and much more. “BAPELAND” is running from now until November 24 in Tokyo so if you happen to be in the area, be sure to check it out.
Opening Hours: 11:30 to 19:30
Shibuya-ku, Tokyo 2-28-12 Jingu-mae