• 2.8.16   Marc Hom, GQ & David Beckham Team Up for Charity

    When Marc Hom first met David Beckham it was years ago during a furious shoot where Marc photographed ten different soccer players. Beckham had just signed with Madrid and moved to Spain with his wife Victoria. He was in a transition period and beginning to really solidify his foundation as a soccer celebrity, but he was on his way up. In the years since that first, fast shoot, Marc and Beckham have seen each other a few times, but it wasn’t until late last year when Marc shot a much more in depth editorial for People Magazine that they connected deeply again. In those intervening years, Beckham became an international superstar, fashion icon, and philanthropist and Marc was able to see the whole development from the other side of a camera. Images from both shoots are being featured in a gala auction presented by British GQ and London's Phillips Galleries that will benefit The David Beckham Unicef Fund and Positive View Foundation. To celebrate, GQ picked five images from their entire exhibition to grace the cover of February’s GQ and both of Marc Hom’s photographs were chosen for two different covers.  “That makes me proud, I think it’s great,” says Marc. “It’s always great to be involved in these kinds of projects. If you can help in any way you can with the help of the endorsement of a celebrity, it’s good for everybody.” It certainly will help a lot of people. Both of the benefitting organizations work to improve the lives of children all over the world, and everyone involved anticipates huge success when the auction starts on March 10. As a celebrity, giving your name and face over to a cause is not an easy decision. Spending a life building wealth and fame is a currency that doesn’t need to be lent or given away, but success brings with it a certain amount of responsibility that Beckham has really given over to. “I think it’s more interesting in terms of what’s going on and where David goes from here after he stopped playing football,” says Marc (for the Americans in the room he means "soccer"). With this auction, it seems, what Beckham is going to do is use the assets he’s created over a celebrated career to benefit the less fortunate. David Beckham: The Man opens on February 27 with the images going up for sale at auction on March 10, with all proceeds benefiting The David Beckham Unicef Fund and Positive View Foundation. If you can’t make it to the gala action at least you can get a piece of this history in the form of Marc Hom’s two GQ covers.
  • 2.9.16   James Joyce Gives colette Paris '100 Likes'

    Likes are the currency of the contemporary. It used to be love. Travel back to the 1960s and 70s and you find plenty of peace symbols, daisy buttons, and a reminder that love is what counts. But we’ve traded up, or so we like to think. Instead of the analog expression of amity, love, we get likes just by sharing our thoughts and vision on the Internet. Whether it’s a particularly cutting or witty tweet, or a quick Instagram from a helicopter or mountaintop that displays our sneakers and sweeping vistas, we get immediate responses to our most dispensable ideas. This change has frustrated James Joyce who is using it as the center of his latest exhibition at colette in Paris called ‘100 Likes.’ “It’s partly my frustration with it, my often bewilderment at it, and the complete absurdity of it that led me to make these art pieces, which are in their own way completely absurd,” James tells Elephant Mag about the high value placed on response from strangers online. Covering the walls at collette are a collection of pieces that play on this new currency and how we let it shape the way we interact with the world. Typographic representation of the word “LIKE” are printed in a bevy of colors that reference Robert Indiana’s classic piece “Love.” As the Likes stack up around the walls of the space, what seems to be an ephemeral energetic trade online become the structure of a wall, heightened through mass. The walls come in closer, ready to fall heavier, and create a form larger than the fragile humans that walk in front of them, perhaps ready to fall and crush us. Along with the Likes are a series of collapsed faces including 'Here for a Good Time not a Long Time,' similar to his piece ‘Perseverance in the Face of Absurdity,’ that was on display as a part of Banksy’s collective show ‘Dismaland.’ But James has taken the motif further, varying the original’s color and bringing in a collection of other collapsed faces that may remind you of clowns in 'Killing Time, Hanging Around and Cheap Distraction.' We’ll never know if these are happy clowns or sad clowns (their mouths, curved into a smile or a frown, have collapsed out of composition become just another constituent piece for you to imagine its communication), but their lampoon of the overused emoticon is alive and well, beckoning you to reckon with it. ‘100 Likes’ by James Joyce is on display at colette Paris through February 27.
  • 2.9.16   Where the Sidewalk Ends Fashion Begins for Don Sumada

    To anyone who cares a stitch about style, a walk down the sidewalk is like a walk down the runway. At the end of that sidewalk, Shel Silverstein tells us, is a world of pause after the bustle of a city. It’s a place where we go to slow down. In Imagista’s latest editorial with Don Sumada, ‘Where the Sidewalk Ends,’ they combined these two ideas and give us a view at fashion with a loving dose of stillness. We’re offered beauty in the space between the energy of high fashion and the calm of meditation. Don brings the volume with pieces by Gucci, Miu Miu, Christian Dior, and Sacai in bold colors and exciting textures including a fur jacket that is reminiscent of another Silverstein story: The Lorax. The looks are recontextualized in environments that are stark and gritty, giving us a taste of contrast that bring the playfulness of the fashion upfront, encouraging a bold attitude and courageous point of view.
  • 2.2.16   An Honest Look at Donald Trump by Joe Pugliese

    This past fall Joe Pugliese caught up with the real estate magnate for People Magazine before his foothold was as solid as it is now, when there was still a question of whether he would have any significant impact on this race. We know now that he has, but back then it was still a huge question. “It was in the early days of the campaign so it was a different climate. He was on the rise. He had major popularity, which he still does, but it didn’t feel as concrete as a run as it does now,” says Joe. At one point he and Trump, along with Trump’s entourage stepped into the street and it was a very energetic crowd. “It was pandemonium but it wasn’t universally pro-Trump. So you know even then you got a sense of his controversial nature,” explains Joe. Even when Trump was still shaping his message, people were hearing it and reacting. Now, this far into the campaign (which still hasn’t gone beyond the Iowa caucuses), everyone has a point of view on Trump. But back then opinions were still forming. As a photographer shooting a profile, Joe could have used a heavy hand to present his own idea of the candidate. But Joe says that’s not what he’s there to do. “It’s not my job to show my opinion of him, I want to record him as he is,” says Joe. “Of course I’m going to pick out moments that I think are more true to my experience with him, so the pictures that I respond to in the session are the moments in between the pictures.” Everyone he photographs poses for the camera, but they can’t pose in every moment and the times they relax, or forget that he’s there are the times that Joe tries to really pay attention to and share with any audience. Joe is our proxy, he’s our eyes on the ground, and he recognizes his responsibility to report back without bias.  “I’m a political junky so I’m totally interested in what’s happening in this race,” Joe explains. “When I follow politics I follow it through photojournalism and some portraiture. So when I’m doing a portrait I look at the subject through the eyes of journalism instead of through the eyes of portrait sitting.” It’s his photojournalistic background that taught him this crucial value and something that he won’t give up just because his subject is controversial. Of course the crowd that day in New York was wild, but wilder still was one surreal moment when Joe was in Trump Tower in Donald’s private residence surrounded by marble and gold: “It was actually the day that the Pope visited. And we literally watched from Trump’s balcony as the Pope drove by. It was probably one of the most surreal experiences I’ve ever had.” The Iowa Caucuses represent only the first time American voters are having their voices heard, but one thing is for sure: this election, and Trump’s position in it, will have an effect for years to come.
  • 2.3.16   Radio Inspires the Next Generation with Sphero

    How we think changes how we see the world. Brain behavior is shaped during early childhood development, making that time crucial to how our brains will function. In essence, early play teaches us how to think, and ultimately shifts how we interact with the world around us. Toy company Sphero is keenly aware of this fact and is using their SPRK project (pronounced “spark”) to engage early learners in the creative process of robotics. The future is in the hands of the minds that are being shaped today, so Sphero is already engaging tomorrow’s inventors and innovators, impacting the future by changing the way the world thinks about play. Radio was brought on board with Sphero to create a pair of animated spots that would show off not just how important this is but also how they would do it. To engage the SPRK robots, students work with an app on a mobile device and are challenged to use those tools to rethink how the digital and physical words interact. Whether they’re turning the robot into a self-propelled boat that shows how friction works in the real world, or building vehicles around the machine to create a chariot, it introduces kids to a new way of thinking. They introduce these ideas with Radio in these two spots that are wildly graphic and energetic while also very accessible. We already know that Radio has mastered the skill of communicating complicated ideas by employing spare design. “If your visuals are simple it’s easier to convey an abstract message,” explains Willie Blignaut, an animator at Radio. Using a purely blue color palate, clean designs dance across the screen like a sort of flipbook, walking us through each of the ways the SPRK can grow a student’s understanding of the world around them. This kind of creative thinking is how we get artists like Radio who engage the digital and creative spaces at the same time. It’s not irony that Radio is helping to spread the message, instead it’s fitting that a creative group that uses tech to make their work would inspire the next generation of innovators that are coming up behind them.
  • 2.5.16   Nathan Fox Brings the Future to Light with Sports Illustrated and Wired

    It doesn’t look like Americans are going to give up on their Superbowl for a long, long time and as far as Wired and Sports Illustrated are concerned, they’re going to give it at least another fifty years. In both of their latest issues they asked Nathan Fox to imagine what a Superbowl in 2066 would look like, creating a space for this artist to adapt our way of life to a not-so-distant future. Both Wired and Sports Illustrated are owned by different companies, and common wisdom would tell us that in the competitive world of publishing they maybe shouldn’t work together very easily. But Nathan said it was a fluid creative process. “It worked out rather seamlessly,” says Nathan. “The way we had initially set it up it really worked out for both publications. It was a really enjoyable experience.” Since there would be no working politics it all came down to creative exploration, something that Nathan dove right into. As far as we were able to find out, Nathan has not actually visited 2066 to see what the Superbowl is like in the future, so he has to invent the visual identity on his own. As Nathan explains, the future will be different from current day, but not in ways that we may conventionally think. “I approached it as a future/near future kind of SciFi approach so that a lot of things are grounded in what we know now,” explains Nathan. “Even now, things like mobile phones and portable devices and tablets and all that were SciFi when I was a kid and that wasn’t that long ago. I tried to take a lot of that into consideration, so it was about elevating it further and taking where we are now with a little bit of an advancement. Moving forward.” Things like televisions and mobile devices are developing at a faster and faster rate, so the future would reflect that. But objects like forks and wine glasses that have gone relatively untouched more than a century aren’t going to change much in the next 50 years. “If it ain’t broke, don’t fix it – just redesign it,” Nathan says with a laugh. If you’re unfamiliar with Nathan’s work the first thing that may jump out about this small collection of pieces about the Superbowl is his intense use of color. Coincidentally this comes from his own early interaction with the digital sphere and SciFi storytelling. “Like anybody else, I grew up on cartoons and video games. That intensity, especially in terms of the RGB screens, a lot of the saturated and oversaturated and over energized is in the media that I grew up on,” says Nathan. “Every now and then there would be something that was just so horribly done it was beautiful. That kind of stuff I collected.” That tension is something that Nathan thrives on and draws from creating tiny visually conflicts that end up pulling in the audience. The future will look alien to us today anyway, even if it is in the details.  
  • 2.4.16   The Beauty Is in the Details for Jonas Fredwall Karlsson and Vanity Fair

    When Raul Gonzalez retired from his soccer career after more than twenty years of professional play it didn’t come as a shock to his fans. But it did mean the world that had embraced his talent so fully was going to have to recalibrate how they thought about this soccer star. To help with the change, Vanity Fair Spain put together a cover story to profile the star and they asked Jonas Fredwall Karlsson to help them reintroduce Raul to his fans for the first time. “To put him in sweats and have him be out in the soccer field would make no sense,” Jonas explains. It was all about context. So Jonas worked not only with Raul but also his wife, Mamen Sanz, a former model, to show off what a post-play life would look like for Raul. “They were super easy going and super friendly,” says Jonas. “They were open to try different things.” And it was different. Raul had never sat for a session like this before, so everyone was going to explore together.  Jonas' aesthetic dictates that every corner of his compositions are supremely beautiful, but he wants them to be rooted in accessible reality. To do that he manages every detail within the frame, whether it's an upturned newspaper on the floor or an unmade bed with rumpled sheets. For Jonas, those details clinch the difference between fashion editorial and understanding a real person. "It's really important to try to make these things look real and to tell a story," Jonas explains. "I asked them to bring their own things, their own iPads. If you look in the background there's even their own pictures of their kids. Even if those are out of focus, just knowing they’re there adds to the pictures. Those little details, those little imperfections add to the realism." If we feel like we're getting a real look at Raul's life, we can connect to him more. Too much polish builds a distance between the audience and the subject. Jonas is working to bridge that gap. These details extend through all of his photography. Whether it’s a shoot like this that profiles a famous face, or for a commercial campaign, he’s always telling a story to the audience that is broader than what you catch from a quick glance. He offers an invitation to look deeper and experience more than what’s available at first look. And Jonas takes it very seriously. “I like to think those stories out,” Jonas says. “Why does it look like this? Why is this here? Is this real? If there is a telephone would it be on the hook or off the hook? And what would that mean? If that magazine is on the floor it has to be on the floor the right way.” He strikes a balance that gives us beauty and reality, because ultimately when you catch something that’s real it has its own inherent beauty. That human connection will always expose something new that we may not expect, something that may surprise us. Even if we’ve been watching Jonas’ subject play for more than twenty years. There’s always something new to learn and Jonas is showing it to us.
B&A Instafeed
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  • Don
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  • When @joepug trailed Donald Trump this fall, his goal was to capture Trump for who he was and how he saw him. This is what he found.
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  • Identity for the 2015 Innovation By Design Awards created by @sawduststudio for @fastcompany #innovationbydesign #typography #design #identity
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  • #wizwearscoolpants in this great shot of @mistercap by @marchomstudio.
    likes 59 // comments
  • @tristaneaton has spent years preparing to launch @thepaintedoceans, a public art project with @obeygiant, @futuradosmil, @hownosm, and @thelondonpolice. Check the full info over at his profile. #paintedoceans #redsandsseaforts #projectredsand #tristaneaton #shepardfairey #thelondonpolice #futura2000 #hownosm #supporttheforts
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  • This @chrisbuzelli painting for @rollingstone of @siathisisacting fills our little elastic hearts with joy.
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  • 👨🛁🏆 . 📷 @theselby 4️⃣ @etsyuk
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  • @tesone is dominating the Tampa creative scene with his murals "Stay Curious" in collaboration with @knownasbask. Photo by @amymartz10
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  • We are loving the attitude in this @herringandherring photo from their series "Women XXI" for @evafehren.
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  • 🤘⚡️⭐️👽
Goodbye David Bowie
(Illustration by @amicollective)  #davidbowie #ziggystardust
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  • Melania Trump is bringing it in @thefacinator
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