Nature has a way to inspire and some times do it better and at a greater scale than our own imaginations. Checkout the colorful formation of Zhangye Danxia in China that does exactly that:
Grantland, a brainchild of the great sports writer, Bill Simmons, is one of the best sports blogs in the world, and they have a fantastic read on classic 70s, 80s, and 90s wrestler, Ric Flair. And the story ain’t pretty. Bouts with his wives, the birth of the Nature Boy, and just the personal struggles of a cult-icon of fake sports makes for a great read.
From The Citrus Report
hello !! my English its so basic, but i will answer these questions
I live in South America, conception Chile
but i lived also in Brazil
My pictures are of my friends, trips, places and my life in general,
I use digital and analogous cameras
My photography is instantaneous, without studies, without major sophistication, I am totally self-taught. I study arquitecture and this study taught me on the photography.
My influences are the street and the spontaneous thing, but for especially the street and his prominent figures
I meet travelling, that is what mas I like to do, living as a nómade, then I will live in Spain or brazil for a few years, if everything proves well.
It makes me happy, the bicycle, my friends, the simplicity, the nature, the marijuana and the moments that are genuine and pure, the adventure, the risk.
I am a simple boy, without major prejudices, am totally latinamerican.
Posted from Battle at 3 A.M.
Posted from The Citrus Report
The very much talked about Brooklyn artist KAWS will be showing at Emmanuel Perrotin in Paris with a solo exhibit called Pay the Debt to Nature. Seems like everytime KAWS sneezes, the kids go ape shit, so we are going to get on the bandwagon and promote this show opening November 6th in the City of Lights.
Go to Galerie Emmanuel Perrotin for more images.
Posted from The Citrus Report
Tara McPherson is no stranger to the current climate of rock poster art and vinyl toys. We caught up with her at New York Comic Con this past weekend after a recent phone interview from her Brooklyn studio. At NYCC, she took part in The Cultyard, a grouping of like-minded creative companies who thought their appeal would be broadened by conglomerating at these larger scale art and culture events. The line to meet and greet Tara was long and constant, so we’re glad we got to do this interview before she arrived. We spoke after weeks of missing each other, something that has probably become commonplace for Tara, as her work and popularity extend farther into the future, with shows, books and toy deals lining up in quick succession.
We were a media partner for the event, so we snapped some photos of Tara’s booth, saw her graciously sign prints, and watched as fans patiently awaited a chance to scoop something and say hello. Her aesthetic is distinct and approachable, albeit from very divergent points of view. Her choice of color palette is very soft and welcoming, yet her imagery and symbolism indicates a substantial amount of humanity in her work; heartache, longing, the nature of the mind, and the process of evolving as an individual. Her heart-less characters have become a hallmark of sorts, and her work rate is incredible. Ahead, find out what this lifelong student has to say about creating beer labels for Dogfish Head, the thesis that is a solo show, and her artistic study of the water molecule. —Evan La Ruffa
Photos by Matt Schuchman
Evan La Ruffa: Alright, ready to go…
ELR: So, in looking over your creds, I saw Dogfish Head Brewery on your list of clients. They make some damn fine beer…what did you do for those guys?
I did two labels for them. One for a rasberry beer and another one for a seasonal beer. I got a a lot of emails from people saying they loved the beer and loved the labels, it was fun to do…
ELR: Were you able to try those beers?
Yea, part of the deal in my contract for doing the labels was that they had me down to their brew house and restaurant. A friend and I drove down, and they gave us a tour of the brewery…we stayed at the Dogfish Suite at this hotel. The people at Dogfish head are cool. Really nice guys.
ELR: I usually talk to artists, at least a little bit, about art school. In some cases people diminish it, in others, people feel lucky to have done that kinda thing. How do you feel about it?
I guess it just depends on your personality. I loved art school. I’ve always loved school in general, even when I was a kid. I just like the environment, it just suits me really well. I would go to school forever if I could…except for spending the thousands of dollars for the degree (laughs…)
ELR: (Laughs…) Right, totally…
But, I treat life that way. The way that I work now is, ya know, prepping for a solo show is almost like working on a thesis. You do your research, and you put yourself through this process to get this body of work together.
Posted from The Citrus Report
The press release for You Can’t Win has an interesting centerpiece quote that is worth noting right away to put the entire show in context…
“We were and are both very depressed individuals and do not really view ourselves as really fitting into any group, but as persons who kind of sit on the cusp of several. More as loners than anything else.”
-PEZ and Joshua Blank
What we find interesting in this quote is what does one, or in this case, two, do when they feel depressed, not fitting into a group, like loners, and on the periphery? Of course in the case of PEZ and Joshua Blank, there is a bit of graffiti, stickering, and ‘zine making involved in coping (if we can call it coping) with being a depressed, artistic individual. But that seems a bit simplistic of what You Can’t Win is all about. We don’t think the show is about being on the outside looking in, as the quote seems to suggest, but rather an exhibition of being in the inside looking further to the inside.
Both PEZ and Blank’s work captures a mood of being found. In PEZ’ work, his iconic graffiti style is applied onto found album covers, vinyl, and stickers. It fits the graffiti and stickering; crawling and popping out of city walls and zines; colorful, spontaneous, between the cracks. It creeps up onto record sleeves, onto found paintings, and discarded wood. These are the things that the inside finds and uses when the outside has no use for it anymore; a painting of a sawmill that PEZ found on the street has now been re-imagined with his distinct colorful re-branding. Saw goes for a large coastal painting that is PEZ largest piece in the show: the beach now has an over-turned car and day-glo pyramids.
And then there are Joshua’s photographs: they allow all of us to be voyeurs into a world we have never been given access to. One of the main photos on his wall is of Dash Snow, powerful not because of the infamous nature of the recently passed-artist, but of the nature of the shot itself. Only the inside has been here, with no outsider filter or poised expectation, just two artists in the moment of non-preconceived notions of art and graffiti. They are just there, not self-conscious but self-aware. And with all of Blank’s photos, everyone is just there, being, living, not acting or living out others’ fantasies of what an artistic life should look like. That is why the Snow portrait, along with the other portraits in the show, feel so real: because they just are….
We stopped on this post on Hypebeast because it said music by Royksopp and The Album Leaf. Then it said the time-lapse was shot all in Japan on a Canon 5DMKII. Then it said directed by Brad Kremer, which we don’t know, but okay. And it was about nature and the city, so there you go, and here you go.