Ah, the 2012 Summer Games, now nothing more than the hazy recollection of infinite spoilers and borderline mental illness. While the overall visual presentation wasn’t quite as bad as a lot of people built it up to be (it was certainly better than this bullshit — but not this), London 2012 was an Olympics whose branding I seriously doubt designers will still be going on about 40 years after the fact. Perhaps it was just too advanced for our feeble 21st century minds to comprehend, so to ease us back into our stasis of perpetual nostalgia I present some more universally agreeable fare, from the simpler age of 1976, when everything happening in this picture was perfectly acceptable and also this crudely fashioned chunk of internet-free wood was your computer.
The 1976 Montreal Olympics branding sits right up there with Munich (my personal favorite) and Mexico on the pantheon of graphic design’s greatest achievements. I’m curious to see which of the more recent Olympics — if any — ends up being canonized by the design community in years to come. From the looks of things we shouldn’t hold our collective breath, it’s all been downhill since 1984.
Blog and personal favorite visual artist Leif Podhajsky just updated his site recently, and as usual, mind blown!. Most notably: Dan Croll’s‘From Nowhere’ 7″ artwork (first and second images).
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HIGHLY RECOMMENDED Meanderthals have that hint of secrecy in their sound, maybe something your unknown uncle from the plains of Montana might listen to.
I was on a mission to find New Age with some good flavor, came across Davol, had to dig deep thru a lot of whimsical crap for this one.
Toro Y Moi is back with new cuts, some real proper takes on whats happening in the UK and overall just taking a great stab at dance music.
If you aren’t following Tim Navis (@navisphotography) on Instagram you’re blowing it. Above are some highlights, all fit nicely in line with his overall aesthetic. Must have a print of that top one.
Matthew Shlian might be labelled a “paper engineer,” but the work that he’s been doing for Ghostly International as of late is seriously blurring the lines between art and science.
Now on his fifth collaboration with Ghostly, the newly released Extraction Series sees him furthering his exploration of geometric movement and tension themes through paper folding and assembly.
I’ve been a bit obsessed with his work since his first colab with Ghostly, and I think it’s now time for me to man-up and make a purchase, as the Extraction Series is in my opinion his best work to date.
For this latest series, Ghostly collaborated on a video of Shlain documenting his process and discussing his techniques. Video work by Ann Arbor-based director and producer Jakob Skogheim. Music by Shigeto.
(Dear Matthew: Please get together with Auralex (or the like) and make us the worlds most beautiful studio acoustic foam panels EVER.)
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ATTN SF MUSIC FAITHFUL: Mux Mool is playing with Nosaj Thing TONIGHT at Public Works, hope to see some of you there.
I rarely lead off with something at this tempo but its Friday and Devonwho is SF based so it felt right and not only that this a easy jam to settle into, expect more from Devonwho soon on the blog.
The TRUST album(came out in Feb.) is the most underrated record of the year, its locked into my top 5 albums of the year. This remix comes as no surprise as being magnificent, the vocals fit perfectly with Robert Alfons production.
XXYYXX is 16 or maybe even 17 by now and has caught peoples ears, this track is one of his more slower edits(i’m saying edits because i’m putting my money on him not having a guitar, violins or drums in his studio). Definitely a fan, I just always think about the musician that have made a name for themselves at 16 and thinking what they think of their old music when they turn 30? it worked well for rock bands but this wave of electronic artists will be interesting.
Kruisemode was a hard choice to pick up and put on here because 1. the gun sound used as a transition is the most uncreative sound i’ve heard all year and thats a fact. 2. the name is a bit late to the game but thats not stopping me because after you throw those ideas to the side this track really enjoyable, i’d edit it and be really happy with it.
Japanese artist Yamamoto Motoi was born in Hiroshima, Japan in 1966 and worked in a dockyard until he was 22, when he decided to focus on art full-time. Six years later, in 1994, his younger sister died from complications due to brain cancer and Yamamoto immediately began to memorialize her in his labyrinthine installations of poured salt. The patterns formed from the salt are actually quite literal in that Yamamoto first created a three-dimensional brain as an exploration of his sister’s condition and subsequently wondered what would happen if the patterns and channels of the brain were then flattened.
Although he creates basic guidelines and conditions for each piece, the works are almost entirely improvised with mistakes and imperfections often left intact during hundreds of hours of meticulous pouring. After each piece has been on view for several weeks, the public is invited to communally destroy each work and help package the salt into bags and jars, after which it is thrown back into the ocean.
