Yoshi Sodeoka is the man behind the latest video Elephant from Tame Impala. WHat you should know is that the man has been making analog synthesized videos since 2005 along with DVD, prints and also audio pieces. My favorite video has to be Violet Dark Spring of the Numinous Orb(poster and video above), its a little more my speed.
Norman Seeff has photographed some of the greatest legends of our time. One of my favorites was Steve Jobs. Seeff was able to photograph Steve both in the work environment with the Apple team, but also in Steve’s home.
In captions that support these images, which can be read on his website, Seeff recalls how Steve surveyed his work before he was comfortable enough to allow him to come to his home. This photoshoot would in turn produce one of the most iconic portaits of Steve Jobs of all time.
Shared from Mac Spoilers
We’ve discussed Vitsoe around here before, primarily focusing on what they are most known for: Dieter Rams’ furniture designs, including the 606 Universal Shelving System and the 620 Chair Programme. Founded in 1959, they have worked with arguably some of the most influential mid century graphic designers in Germany, and their attention to detail in the company graphic identity and literature has always been just as impressive as the furniture itself. Now, Vitsoe has started to release some of it’s amazing archival material via it’s newly created Tumblr page, and it’s worth a visit.
I find myself most drawn to the posters and graphic identity that Wolfgang Schmidt created for Vitsoe early on. Being a record collector, I’m obviously obsessed with this 7″ that they pressed in the 1971 for one of the various live performance events in the showrooms.
The poster he designed in 1972 for the 620 Chair Programme is genius – it really captures the idea of ‘furniture as a system’ that both the 606 and 620 embody. Each unfolding of the poster reveals a new layout, ultimately culminating in a whimsical layout featuring the Vitsoe employees as the models.
Schmidt’s book of invitations for the Frankfurt fair in 1971 delivers humor via his iconography combinations.
Finally, Günther Kieser, most famous for his jazz and rock posters, art directed various photo shoots for Vitsoe. This is a postcard featuring one from 1968.
Posted by Rob Fissmer
Argentinian artist Tomas Saraceno goes beyond the traditional conceptions of place, time, gravity and our familiar notions of architecture. Saraceno is an artist and architect whos visions for cities floating in the air have led him to create a series of experimental structures such as balloons or inflatable modular platforms that can be inhabited and exploit natural energies. Any of his objects is an invitation to think about alternative knowledge, about emotions and the interaction with others. They invite you to participate, like Poetic Cosmos Of The Breath (pictured above), an experimental solar dome, which was part of The Arts Catalyst’s 2nd International Artists Airshow.
At dawn, crowds formed around a giant and colorful, circular foil, pinned to the ground at the edges with sand bags. Throughout the morning, the artist and his team gradually filled the foil with air and visitors could walk through this stunning colored wonderland.
To celebrate the Ghostly International: Of Art and Artifice event Incase shared this amazing compilation of songs which includes a Kolombo remix of Tycho, Tensnake rework of Osborne, Fort Romeau edit of Beacon and many more.
Incase is proud to support Ghostly International: Of Art and Artifice, a multi-day event presented by the Art Directors Club CRE8 Series that promotes art connected through a spirit of inventiveness and anti-genre thinking. In the years since its birth in 1999, Ghostly has grown from a boutique label known for its experimental-pop and -techno acumen to an internationally recognized platform for the work of the world’s best visual artists, designers, technologists, and musicians.
As a multi-platform cultural curator, Ghostly International is a tightly knit aesthetic universe fulfilling the roles of art gallery, design house, clothing designer, technology innovator, music-publishing company and record label, all in one. From September 13-16, The Art Directors Club will house a comprehensive exhibition that gives a peek into what’s next after 13 years of creativity from Ghostly International, highlighting an essential selection of work from the Ghostly family in a never-before-seen collection. In addition to the exhibition, Of Art and Artifice will also encompass a series of events that include an Opening Gala with live performances by Com Truise, Lusine and NYC’s own Michna, as well as two days of talks with Ghostly artists hosted by Incase.
Came across a huge collection of camera and lens manuals from the Soviet Union, all of them have that DDR/Cold War feel and look. Being born in communist Poland i’ve been shown a lot of this kind of design thru my whole life, I find a strange attraction to it.
“Car art” is always a contentious subject for me, there’s alot of cartoonish colored pencil stuff out there that Road & Track likes to pass off as “fine art”. If there’s one thing i’ve tried to showcase in my livery posts, it’s that the geometric body of the car itself makes for a great canvas.
Earlier last week, fellow car porn addict (although he gets paid for his addiction) Jim Lau sent me the innocuous “you’ve seen this, right?” message. Above are some examples of Ricardo Santos’ work, and I think they’re absolutely fantastic. You’ll notice some farmilar ‘faces’ from alot of the car posts I’ve done here on the blog, needless to say I’ve solved the problem of hanging up pictures of cars on my wall without looking pubescent.
These prints all come in a variety of sizes & formats, the stretched canvas is barking at me and the moths futzing outside my window will soon find a nice warm home in my wallet. You can find all of Ricardo’s works seen above over on his Society 6 page.
Reverse Of Volume was an installation by artist Yatsuaki Onishi commissioned by Rice Gallery, which ran from April 13 – July 27 2012. The suspended fabricated mountainscape is formed from two materials; plastic sheeting and black colored hot-glue. Onishi shaped the floating sculpture within the gallery space by first draping the expansive plastic piece over stacked cardboard boxes, then removing the piled components following the white sheet having been attached to the ceiling by the quick-drying adhesive. This creative process or method is known to Yasuaki Onishi as ‘casting the invisible’ and aids in his artistic meditation on the reality of negative space.