Here’ s a fantastic idea and collection of imagery that being exhibited at the ACE Hotel in NYC. ‘Daesin’ is the German word for ‘being there’ which in photographic terms, is the exploration of being in a space.
It’s a great project because it taps into something we are losing. The ability to just be. When we are all on the move, so hyperactive and busy all the time, and increasingly filling the spare time we have with more things (like this blog, written with a twitter feed sitting by it’s side, crackling with energy and demanding attention all the time), that we sometimes need to be reminded that just being there can be the most important we have.
I Just recently came back from second trip to New York in the last three months. Each trip has been memorable for many things, but this one really was truly magical. Apart from being privelidged to go and see LCD Soundsystem at Madison Square Garden, I also got to see some fabulous films, art and culture, that, certianly in regards to the latter, was as qunitessential to the New York experience as you could imagine.
Of the films I saw, one stood out above all others. A documentary recommended to me on the life, career, and unique New York character that is Bill Cunningham.
In Bill Cunningham; New York We discover the world of the man who, for more than 30 odd years, has worked for the New York Times as the photographer of ‘On The Street’. His weekly round-up of what the ordinary and extraordinary New Yorkers are wearing. The page these days is considered the template for the huge growth of street photography embodied by The Sartorialist, Jak & Jil, Facehunter and many more. His style, quick snatched imagery (while roaming the streets on his 28th bike – the other 27 stolen over the course of that career) has captured a city in constant style evolution. His eye for detail, honed through a career in fashion dating back to the 1950’s, is egalitarian, but treasured by the ultimate power brokers of fashion. So much so that in fact, that he is awarded the highest cultural honor in France (the Ordre des Arts et des Lettres) in the final third of the film.
He was responsible for almost all the photography in the upstart DETAILS Magazine, which chronicled the off kilter styles of the 1980’s Downtown scene in glorious detail. Yet, he is also the photographer of choice for the uptown party scene, (His ‘Evening Hours’ page in the New York Times) and the mail deluge of invites to fundraisers from the moneyed doyens of Park Avenue and Republican high fliers never ceases.
This chameleon like nature, only deepened once the film exposed Bill’s lifestyle beyond the camera. If you could call it that, as such was the dedication to capturing fashion in all it’s myriad forms that it had consumed him, and as the viewer, you are left with this confusing sense of whether this is how he wanted it to be, or how it was forced upon him by outside influences that he felt beyond his control (the religious aspect of his character seems to point to this way for me)
The climatic scenes of the documentary are amazingly raw and touching. I won’t spoil it, because if there is one documentary that you should try and see this year, then this would be it.
As far as I know, it doesn’t have a UK release date (it does feel like a film made by New Yorkers for New Yorkers to be fair) but keep checking, as it’s worth the effort.
I think we are all familiar with the loveliness on Hipstamatic. So it’s inevitable that the successful blog Hipstamtics has taken the leap into the digital world with it’s first exhibition of Hisptamatic prints at the Orange Dot Gallery in London. 157 of the best photos have been selected to be part of this show. Coming on the back of the rise of Instagram using the same principle of retro filters, but adding the social element to it (Tim @madebymany has a top notch round up here) setting the digital gliteratti ablaze with it’s new level of digital intimacy and ease of use (I’ll admit, I’m hooked). It’s easy to forget about Hipstamatic and the charm that it engendered. But what both apps show yet again is how from these technology can bring us closer to, and attain it’s emotive, craft qualities. (example Nº1 Ben Malbon’s Instagram photo essay is a great story) Hipstamatic, by moving some of it’s best photos into that physical realm, is showing just one more way our digital lives are bleeding into our physical ones. Other than that, I’m sure it will be a great exhibition. Check it out.
I’m sure many (if not all of us) have seen the fantastic ‘Making Future Magic’ video collaboration between Japanese in London Ad Agency Dentsu and BERG London. (Ironically, I saw David Berg present excitedly at PSFK London, talking about the project in hushed tones, now we can see why). I personally love the Dentsu positioning. It’s brilliantly optimistic, and works as a creative rallying cry that both simple and challenging. So, it’s nice to see the first work post ‘Making Future Magic’ is suitably gorgeous and intelligent. Shot for Canon Pixma Colour Printers, Sound Sculptures sees Dentsu return to it’s interesting collaborations with bio-chemist & Photographer Linden Gledhill. The full story is over at Dentsu itself, (and a behind the scenes Flickr set here) but I must say these are very charming and lovingly crafted. Good work, and I’m looking forward to see more from the Making Future Magic stable.
Here’s a great piece of work from Folch Studio. The Icons Project. The project blurs the lines of online and offline. Recreating some of our most familiar computer icons into lovingly hand crafted sculptures. Shot from face on, the optical illusion is great. Check out the whole set, and some behind the scenes photos here.
I picked up my first copy of Vice in a long while last week, and having not perused one in a while, I had forgotten how great Vice was/is brilliant at spotting and nuturing photographers with totally individual aesthetics. While the content may not be everyone’s cup of tea, it’s photographers have been brave, daring and committed to their approach, whatever it is.
With that in mind, I stumbled upon a photographer who could well be following in the footsteps of a Terry or a Ryan. Ellen Rogers work is totally unique, wilfully anti-digital and comes over like a warped time capsule, like you’ve uncovered the dark side of Victoriana all to yourself.
It’s worth checking out the entire website of her work. There’s huge archive (as well as some handily ‘bloggable’ images) to peruse. I’m looking forward to seeing more of her work grace the pages of many more publications in the future. A real find. (Flickr page here)
I’ve been sitting on this one for a while, and I looked at it again and it just blew me away. A project from Ben Thomas, an Australian photographer, each location takes on an amazing fragility. It takes you a while just to work out if these are insanely brilliant scale models or not. Anyways, judge for yourself here and view the whole collection here. (as well as some other of my selections after the jump)
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