- Source: Buzzfeed
- Source: Buzzfeed
- Source: Buzzfeed
ALLEGORY is a collaboration between two young & visionary european guys: Léonard de Rham and Albert Schrurs. Their firm is a creative studio born from the appreciation of marrying experiences with emotions in the pursuit of originality. Since its inception in 2010, ALLEGORY has specialized in the fields of architecture, inventive installations, scenography and design. The projects carried out at Allegory explore inspirations founded in the context of their occasion. Locations, a brand, a function, materials – all spark their creative process in unique ways. Below are a few of their unforgettable experience based installations...
I Love this undertaking!
"Mountain Climbers is a project geared toward: "Revisiting a Swiss icon, this seat is an ambitious cultural and entrepreneurial project. This 100 % Swiss undertaking aims to combine recycling and sustainability to benefit a charitable organisation.
The project consists of salvaging 40 dismantled ski gondolas and having them transformed by 40 artists, architects and designers.
Once transformed, the gondolas will be exhibited around Switzerland then sold at auction by Christie's. The proceeds of this auction will be donated to Make-A-Wish. Foundation of Switzerland who grants the most heartfelt wishes of ill children throughout Switzerland"
Many a dope reference made. Wyclef is still killing it after 20 years...
WANT TO LOTTO WITH PICASSO?
Fifty thousand numbered tickets will be sold. Only one of them will allow the acquisition of the 'L'Homme Au Gibus' drawing dated 1914 and estimated between 800,000 and 1 million Euros. The work comes from the Picasso estate and is certified by Maya, daughter of Marie-Thérèse Walter, and Claude Ruiz-Picasso, son of Françoise Gilot.
MoCCA Festival, also known as MoCCA Fest, was created by the Museum of Comic and Cartoon Art in 2002. Over 2,000 artists, publishers and editors came together to display artists booths, presentations, panels and slide shows.
Just recently however, the Museum of Comic and Cartoon Art shut its doors and handed over their collection and responsibilities over to the Society of Illustrators. The Society of Illustrators is a 100-year old institution dedicated to the art and business of illustration.
However, this merging of institutions has not stopped the MoCCA Festival to the relief of many up and coming young artists, established artists, and fans and appreciators. In the past few years the festival has taken place at the Lexington Ave 69th Regiment Armory in NYC and I am happy to say that I will be attending the festival as a volunteer as well as an artist selling my and Parsons my classmates' work next weekend April 6th and 7th. Admission is $12.00 but there are tons of artists to visit and appreciate and if you do plan on coming, I'll be there hoping to sell some of my work for a few bucks. I'll be there at our table Sunday April 7th, but you should stop by whenever you can anyway. :)
For more information visit the Society of Illustrators page here : >>MoCCA Fest 2013<<
Here are some samples of some work I'm hoping to sell. They're older projects but I'm trying to bring them back as lithography prints! My website is here for other work: www.kerenhasson.com
Tips for Starting an Art Collection:
1. Buy EMMA Magazine,
2. Figure out the rest later .
EMMA magazine is the first project for Emma Harden & Emma Rae as a design duo. Living in NYC, with a shared interest in bookmaking, design, printmaking, art and art theory- starting a magazine has been a natural progression for them. They are practical people who are project oriented. EMMA is a response to a need for a magazine made by young people, promoting other young people, informed by contemporary art practice, the post-college blues, and mid-twenties confusion. The first issue of EMMA has the work of over twenty young and very talented artists. This work deserves to be taken seriously and to be shown with integrity.
In the last century many major sports of our era have witnessed black pioneers forge entries their respective domains to forthcoming generations. Young black athletes were first inspired by Jackie Robinson’s breaking of baseball’s color barrier, and more recently we have seen the Williams sisters refashion tennis in their image as well as Tiger Woods’ unlikely dominance in the world of golf. All four carved dazzling paths out for other African Americans to explore new sports, and believe in their success. As a side effect, the black identity has been merged with athletic success, in special cases with the commodification of sports and singular personalities. To the benefit of many, athletes act as pillars of society that the young aspire to be like, to emulate and then transcend. As pillars we hope for their success professionally and personally, and even in their disappointment there are lessons to be taken. As often, black culture has followed its stars and has helped young black athletes begin their own sporting lives.
There are great sports today, however, that are still far from the collective black community’s engagement, and might be called Caucasian pursuits. Skiing is the sport that I have most recently taken up in my life, and within my very special two and a half seasons of enjoying the sport I rarely see people of color like myself doing the same.
During the act of skiing you are aware of nothing else but the impending turn, hear nothing but the crunch and spray of snow giving way, and the rhythmic click of your poles. It is exhilarating, you take the freshest air into your body, and you return with a grander appreciation for the world. The sport can be meditatively blinding, but there in its holding moments between lifts and egg-rides there presents slow moments to take in your social surroundings. The crescendo and descent of pace is essential to the world of snow sports, and it was in one of these slow rises that I posed the question: “what if skiing were a black sport?”
Initially I sidestepped the essence of why I asked the question and the importance of it by leaning on a vision of Lebron James and Didier Drogba ripping up slalom at the world championships and picturing Adrian Peterson slicing through fresh powder during a heli-ski session in Turkey. These jokes, though bearing a slippery grin, were casually racist and seeded in the koan of the stigma between black and snow. I profiled these athletes for the improbability that these guys ever skied a day in their lives because they are black. As a half Haitian guy from New York City, I was targeting as much myself, being very well aware of the stereotype that I was defying – Black people do not ski. I did not ski for 21 years until I met my French girlfriend who was practically born on skis, her father having been a ski instructor and her mother having been one of his clients.
The snow sprinkled socio-psychological barrier was crystallized in me, and worse I was the one perpetuating the racial stigma by deriding myself as the only black guy on the mountain. I was uncomfortable - not because anyone had remarked on my dissimilarity, but in view of the fact that I assumed my own difference and needed to verbalize my insecurity. Oddly, it was an insecurity having absolutely nothing to do with the act of skiing itself and it’s surrounding magic, which is an unfiltered joy that I believe could be a windfall for many newcomers. Like I said, you return to the world away from the mountains with a refreshed spirit and new appreciation. You can’t wait to get back to the mountains, and the virtuous cycle commences. I simply wanted to see people like me enjoying the sport as much as I do.
It was a question that I had been asking myself for some time in different ways, spawning from my perception of the lifestyle and culture of where I have been learning to ski in Courchevel, France. The hyper opulent, commodity ruled ambience of the station area could not be further from the atmosphere of the mountains, nor. Spending time analyzing the terrain and texture of the snow, scrutinizing the angle of the drop, and judging whether the wind will carry away the clouds soon enough to have some visibility are the glorious anthropocentric nuances of ski. Surviving out there does require pricy gear, but the reputation of what is necessary is exaggerated. Brilliantly enough there are already strongly stitched lines between black culture and mountain gear, a point I will revisit shortly.
I subconsciously produced exceptional black athletes that could be amazing skiers because of their dynamism and coordination, and their star quality. As with other sports featuring black mega-stars, skiing would require the transcendence of a star, or a celebrity to take its torch and carry it into the dark. Realigning the perception of segregation often takes an anomaly, and like any sport the relation of blacks to skiing is a matter of geography, history, economics and stereotypes.
Historically, black people do not originate from snowy mountainous areas, which prevents skiing from being a black pastime or family tradition. Presently in the US, African American communities are concentrated around urban settings and seldom in resort towns or in the proximity of skiable terrain. Skiing is also a relatively expensive sport to participate in – transportation, ski rental and buying passes add up. The reputation perceived by urban black youth is instantaneously that of “crazy expensive” without having explored the options for access. On a case by cases basis, proximity and money are limits to black engagement. In terms or popular intrigue, without a comparable idol the idea of skiing swiftly loses interest and fades. There is exposure, but the X-Games in between college basketball on ESPN are skipped over more often than golf…(golf you may now thank Tiger, again).
Traditionally skiing is a method of travel performed by leather-clad men whose genes classify in the yeti spectrum of the human chain. Moving forward in time accessibility has evolved alongside technology, and ski gear prices escalated in suit. In concurrence the haut monde began to view skiing as a luxury few could afford. In the last couple of decades ski has become more financially friendly, which has created another ripple of wealthy feeling compelled to set themselves apart from the herd. The upward spiral of displays of wealth strengthens the capitally intensive stereotype of the skiing community. This is particularly interesting phenomena in France, where the population is increasingly racially diverse, but the vacationing ski community remains chiefly European-Caucasian. It is important to keep in mind always that being in the mountains offers a range of opportunities, different activities and hundreds of thousands of kilometers to take advantage of.
However all seeming deterrents, black popular culture marks mountain culture without the physical presence of black people. Example: when approaching a snow park feel your chairlift seat pick up a consistent bass vibration. Yes, that is Kid Cudi, or Rick Rozay Ross. Descend into the snow park and notice the oversized, low-waist riding style that exposes just as much boxer print as the same look in Harlem. Young skiers and snowboarders have fully embraced the love of hip-hop culture, its style and expression and it has been this way for years – transforming the style and attitude of a generation. Since the 80s, younger skiers have brought the spirit of youth with them to the mountain. This wave is another affirmation the openness of the sport to being cool and equally of hip-hop’s global arrival. Slope swag is a real thing.
This is a miniscule an example of the openness and diversity of the new global ski community. My hope is that this phenomenon of cultural friction pulls new athletes to the sport, awakening young kids of color to the similarities that skiers and snowboarders of the same age share. There are organizations such as the National Brotherhood of Skiers (NBS) in the US that promote the exploration of the sport for black youth, and I believe the children they reach represent a sliver of a massive domain. In some ways, skiing already is a black sport, just without black people. There are competitors from countries like Ghana and Haiti competing in the Olympics, and though they may be teams of one person, they are hopeful that their presence can draw positive attention, curiosity and growth. In any case, these teams cannot shrink.
Time will tell if culture can open the gates, or if it is the classic star-first dynamic that will change snow sport. There are definitely interesting black snow athletes like Ben Hinkley, Stevie Bell and Keir Dillon among others doing big things in the snowboard community, but it seems that there must be either many more or simply one huge star to dispel the stigma. In all cases, I will keep skiing, being the anti-stereotype and representing the future of ski.
As many of you know I work in real estate. In between projects at the office I spend a lot of time thinking about relationships between nature, locations, spaces and objects, colors, textures and ways to live. In the last week I have tried to turn my idle reflections into something more productive. I've started composing these 5 minute photocollages inspired by images taken of my co's projects.
For the curious, you can find details of each collage on our FB page.
Ghosts are scary. Before you disagree and naysay for the millionth time that there are no such things as ghosts or spirits that float around us just let me feel this out. Floating hollow light that shrieks or takes the form of savage children with bottomless voids where their eyes should be is outside my leitmotif. I want to explain a less mythical sort of ghost. My ghost cannot be a Halloween costume, at least not one that is publicly coherent.
For me, today, ghosts are our memories that shadow the actions and decisions of everyday life. They are the reel of concerns playing nonstop on the inside of our heads when we are not thinking at all - the events and voices that walk, fly and swim alongside us even when we’re active. Emotionally these phenomena filter our perception of reality in such a powerful way that we can never detach ourselves from them in the present tense, no matter how convinced our consciousness is of the clarity with which it is performing – there remains the filter. Most people are no more than collections/compilations/stacks/melting pots/cauldrons/fusions/aggregates of these past shades.
At some point there is a moment of crisis, and the chill of clarity when we become aware that our vision is comprised of and diluted by those damned remnants. If you’re like me you pick flight from the Darwinian possibilities. Rather than take on those confrontational quiet moments the addiction to constant motion grows and we are forever obliged to push our boundaries. If you have realized a moment like this you know how it is to be haunted.
Perhaps, to be candid with ourselves, we hope to remove the ghosts’ veil moreso than we desire to tackle new frontiers, because if you are like me you’ll know that constant locomotion is equal parts exhausting and liberating. The uncertainty of being on the go allows us to feel creative and undefined. So long as we maintain momentum the new experience will have no choice but to give ground to us. We preach internally that being stationary for the time it takes an atom to split represents missing chances.
What we can’t realize during all this “going” is that the phantoms feed off denial, and that we are better off to sit and be haunted from time to time. Feeling weirded out by ourselves is more real than anything new.
Not all ghosts are draconian. Positive ghosts are essential to peeling back our eyelids and embracing the day with a fresh guise of opportunity. Necessarily, we carry the specters of optimism to help pry our minds from the gutter - separate from the gloom and live with those ghosts. When you feel brave share them with your closest. Ghosts are scary, but with an awareness of them they fade into silhouettes and eventually disappear.
"I’m a builder, a fixer, and a do-it-myselfer. My favorite things in life are big tools, old wood, good pasta, and finding great materials in a dumpster."
In the 1970's, NASA Ames Research Center conducted three space colony summer studies. They hired artists to create artistic renderings of concepts for future space colonies. These are the images from the three different studies. Some work by artist Don Davis and some by artist Rick Guidice.
Population: 10,000. The Bernal Sphere is a point design with a spherical living area.
Population: Over one million.
All images credited to NASA Ames Research Center
After a short conversation with a friend yesterday, I gained a real perspective on how often the word "burqa" is employed improperly, not only by the population in conversation but also by the media and political figures. I thought I would do some quick (though admittedly shallow) research about the topic, so here goes...
This fraudulent use of the term started in France after a bitter debate and resulting law, which bans muslim women and girls from wearing a burqa or Niqab in public. The cultural significance and historical narrative behind this garment has since been lost in translation.
The burqa is a head to toe veil originating from Agfhan tradition and worn by women primarily in Afghanistan, Pakistan and India. Originally, the burqa did not have the meaning it communicates presently. The tchadri (Persan word and synonym for burqa) , is the blue-turquoise clothing Afghan women position over their heads, but does not cover their pants and can be adapted so they can easily use their arms, uncover their faces and expose their hands in public.
The burqa, however, according to Islam experts, is a recent invention in the countries of the Gulf and Pakistan. Within the last 20 years approximately is when the garment evolved into a full-body length robe that is worn with gloves and, covers literally head to toe. This integral veil highly, and in large opinion, violently accentuates the secular purdah tradition - a practice that bans men from seeing women.
In 2012, 300 women were officially sanctioned in France for wearing the niqab in public after the law passed the year before. From one angle this number is low, but realistically it is large in proportion to the fact that 2000 women wear the contested veil in France. This means 15% of a population was stopped and charged. The campaign against the tradition of the burqa is a symptom of simmering political tensions and its symbolic status, but outside of its current day position it is always good to actually know its origins and gauge its trajectory.
Andrew Seguin is a photographer who lives and works in New York City. After he re-read Moby Dick by Herman Melville, he wanted to reinterpret the classic novel with a visual medium. Using the 19th century cyanotype process he created these visually striking images. I love them. Below are some images from his series titled "The Whale in the Margin":
This fall, the word "library" will change forever as we know it.
In San Antonio, Texas, a library consisting of 150 e-readers, 50 computer stations, 25 laptops and 25 tablets will open to the public. NO BOOKS. The County Judge of Bexar, Tx. Nelson Wolff says:
The all-digital-library has hopes of allowing customers access to more information, and faster with the ability to search, download, or access publications which the library subscribes.
But, the traditional library is something that the public doesn't seem ready to give up just yet. Digital libraries in the past have had problems getting started because consumers still prefer actual books to tablets and e-readers. Though, switching to digital tools could in the long run be more cost effective and make access to information more readily available.
Me, I'm always open to trying something new…but I will never lose my love of turning the page.
...Barnum points to something sacred in advertising—its ability to turn appearances into reality. This metamorphosis serves as a kind of secular transubstantiation.. "Put on the appearance of business, and generally the reality will follow." ...How is this miracle achieved? First, through false superlatives and inflated rhetoric, e.g., "The world-famous _______ is the greatest one ever seen." Then, through repetition: if one asserts a claim often enough, the claim (true or untrue) achieves, as we say now, traction.
But the process requires faith, "to teach you that after many days it [your investment] shall surely return, bringing a hundred- or a thousandfold to him [the advertiser] who appreciates the advantages of 'printer’s ink' properly applied.' The making of money in this formulation of the new gospel is a sign of blessedness, and instead of prayer to effect a particular outcome, we have advertising...
Wonder is the remnant of religious faith when religious doctrine has proved inadequate to a feverish wish to believe in something, anything. Suppose that prayer has not brought you your reward. You want to put your faith in a miracle. Where is that miracle? You have, after all, been taught to believe. About such longings, Barnum was very shrewd. He knew that spiritual peacefulness, a calm in the soul (we would also call it 'self-possession'), was largely missing in the American experience and that this absence derived, as he notes, from 'a practicalness which is not commendable.'
The citizen has worked hard with little result. He cannot stay calm in the land of milk and honey if no milk and honey has flowed his way. Promises have been broken. Therefore he goes to Barnum’s show with high expectations. Barnum knew that America was a nation of believers who, thanks to their pragmatism, didn’t actually believe in much of anything, although they said that they did.
I suggest reading this article on NPR.org about rap artist Shawty Lo. The story focuses on his impending reality television show focusing on the ten mothers of his eleven children. After finishing the quick read my brain was literally hemorraging questions.
Initially, I reacted to condemn the show as the latest spit-up of American drool TV with slimy chunks of what could be last night's blaxploitation floating around. However, I stuck by the intriguing premise - though this is an extreme case of a blended family, who am I to judge another family's structure? This show offers a unique opportunity (even if not entirely candid) to peek inside a familial atmosphere far from my own, which are considered socially traditional. But I suppose the point of the show and not its premise are the focus of the scrutiny - what is the message of airing such content, what will evolve out of it if anything? NPR news journalist Gene Demby addresses the topic of representing such an 'uncommon' family by saying:
Are shows such as this not only perpetuating stereotypes, but also influencing the choices of future generations who admire the "worlds" of artists such as Shawty Lo? Or should we merely look at shows like this as singularities - a peek into the life of one family and how they choose to live their lives? I suppose everyone will perceive it from their respective corner and spring to the mat with a flurry of defensive and attack tactics, equally effective and probably inessential, but there are important statements being made. Do these family reality shows represent new norms or anomalies? Are they breaking down barriers or reinforcing them?
Demby continues the article by making the point that realities shows that are seen as distasteful like that of rapper T.I and his wife Tiny: "The Family Hustle" or "Ice loves Coco," can have the power of humanizing their main characters. Demby says:
What do you think?
Le week end dernier je suis allée voir l'exposition de Pierre Soulages au Musée des Beaux-Arts de Lyon. J'ai immédiatement su que je voulais écrire à ce sujet.
Pierre Soulages est un représentant majeur de l'abstraction française, né en 1919, qui fit de la couleur noir son signe distinctif. L'exposition présente des oeuvres récentes de l'artiste, et pour la plupart jusque là inédites, qui poursuivent la recherche de Soulages sur l'outrenoir, c'est à dire sur les multiples possibilités de créer de la lumière par le noir. La peinture est soumise à différents traitements de matière par lesquels apparaissent des aspérités, des reliefs, qui deviennent support de la lumière.
Des outils variés sont utilisés, déterminants pour l'oeuvre. Ils ne sont pas le moyen de parvenir à cette oeuvre, ils la font naitre. Créés par l'artiste lui-même, ils sont le prolongement de sa pensée. A toute oeuvre unique son outil unique.
La première salle de l'exposition est révélatrice de cette démarche si particulière, de travailler la lumière par son opposé. 4 toiles noires sont exposées sur un mur noir lui aussi, privé de toute lumière. Le mur d'en face, lui, est blanc, et éclairé indirectement. Ce seul mur blanc suffit à révéler tout le modelé de la peinture.
La toile ainsi traitée est objet, et puise son existence et sa force par la subtile danse de la lumière. Tout un paysage se devine et s'articule au gré des creux, des irrégularités, des aplats…
Les autres salles de l'exposition présentent des toiles de plusieurs mètres de haut, souvent plusieurs accolées les unes aux autres, qui fonctionnent et vibrent ensemble, nous happant dans une sorte de songe de silence et de beauté, où notre petitesse nous cogne en plein visage.
J'ai été émue par le contraste des zones de calme et celles de tempête. La manière dont le noir, qui est, par définition, l'absence de lumière, la révèle, est délicieusement délicate et poétique. A bientôt 94 ans, Pierre Soulages reste terriblement contemporain et stupéfiant.
Last weekend I went to see the exhibition of Pierre Soulages Museum of Fine Arts of Lyon. I immediately knew I wanted to write about it.
Born in 1919, Pierre Soulages is a major representative of French abstract art, and has employed black as his emblem, the color which he explores most in depth. The exhibition presents recent works by the artist, and for the most part until now unpublished pieces in which Soulages is pursuing research on the "outrenoir" i.e. the multiple possibilities of creating light through the dark.
Soulages subjects his paint to various treatments through materials, manifesting in uneven reliefs, which become light carriers. Various tools are used for determining the work. They are not simply the way to achieve this work, they become mediums for substantiating the idea - they bring it to life. Created by the artist himself, they are an extension of his thought. A unique work throughout its single tool.
The first room of the exhibition is indicative of this particular approach, of presenting light by its opposite. Four black canvases are displayed on a similar black wall, deprived of light. The opposite wall is white and indirectly lit. This lone white wall is enough to reveal the whole room's modeling of the painting.
The canvas so treated is an object, and draws its sculptural existence and strength from a subtle dance of light. An entire landscape defines and articulates itself at the discretion of the hollows, irregularities, and solids.
The other rooms of the exhibition are paintings by several meters high, often he displays a few attached to each other. Functioning together, they express motion and lure the viewer into dreams filled with beauty of silence before we are forced to face our own tininess compared to the presence of light and dark.
The contrast of quiet zones against those of a stormy nature moved me. How the black, which is by definition the absence of light, reveals itself is delightfully delicate and poetic. At almost 94 years old, Pierre Soulages continues to fashion work that is impressively modern and amazing.
Article by friend and Designer d'Espace, Diane de Soras - http://desoras-soulier.com/