I’ve really been enjoying the new Arcade Fire album, The Suburbs, though it took a bit of getting used to. It’s not that it’s bad it’s that it’s so damn catchy, where they’re previous albums were more… artsy, I guess. Anyhow, since I like the posters so much it makes these 2010 tour posters that much more amazing.
The posters were designed in collaboration between Ben LaFond of Burlesque Design and Dan Black of Landland and they couldn’t me any more epic. The poster at top is by far one of the raddest show posters I’ve ever see. All those colors and mayhem and bits, it’s just too cool for words. I guess you wouldn’t really have to worry much about registration with a poster like that, right? The other posters (there are more than you see above) are pretty nice as well, but that top poster? Man it’s amazing. Great work guys.
You can check out the rest of the posters by clicking here.
Thanks Caroline for the tip!
On September 2 Underworld will be releasing a new album called Barking, their eighth studio album. It’s been three years since their last album Oblivion With Bells and from what I’ve heard it’s gonna be pretty rad. They’ve released two tracks so far, Scribble and Always Loved A Film and they definitely sound like traditional Underworld songs, but in my opinion that’s perfect.
I also wanted to point out that the cover to Barking is pretty rad, as you can see above. I’d bet money that Tomato did it as they’ve been working with them since the early 90’s, maybe even earlier. The art is totally abstract and crazy but in my opinion still quite beautiful. They always do great work and this cover (and the related branding) will be no different.
My homegirl Sarah pointed me toward the work of designer Corey Holms who’s a Southern California designer who’s doing some rad projects. Since it’s Monday I like to stick to music related things so I’ll point to this logo variation he did for Depeche Mode’s album, Sounds of the Universe. Whereas the original version was some kinda rainbow colored pick-up-sticks match Corey’s version is a simple, embroidered version of the logo, though just the inner portion. I guess I think of it as showing restraint, that he didn’t go crazy, just came up with a clever alternative that is just as strong (if not a little bit better).
P.S. Corey has an amazing Flickr full of inspiring images, you should check them out as well.
For the last few weeks I’ve been finding some small but rad bands through Bandcamp and Sound Cloud so I’m continuing this trend with the San Francisco based band Sunbeam Rd. The band is made up of Trevor Hacker, Harrison Pollock, Cody Hennesy and Clive Hacker who have a great sound. To make a generic statement they’re a rock band, with songs that kinda’ remind me of French Kicks and Modest Mouse, maybe a bit of that laid back California sound that’s blowing up right now.
As usual I’m horrible at describing music, but I know good stuff when I hear it and this a great little EP. Be sure to listen to the first song Waves, I’m sure you’ll get hooked.
For their contribution to the 11th International Garden Festival in Métis, Quebec, Berlin-based landscape architect Thilo Folkerts and artist Rodney Latourelle have taken 40,000 reclaimed books to create their own Jardin de la Connaissance (Garden of Knowledge). Aiming to utilise non-traditional materials to build their garden, the collaboration were concerned with focusing on “deconstruction and decay as opposed to blossoming and blooming.” By using books to collapse the binary between nature and culture, their installation mends this divide by returning paper to its environmental source. However, their clever take on horticulture also points to a sense of stasis by “planting” a garden that is unlikely to grow and will slowly deteriorate, as the books’ fragile pages face variations in the environment. I particularly love the concept of an exterior library and the choice to appropriate books – and thus words, ideas and knowledge – as the foundation for an alternative form of fleeting and mutable architecture.
The Garden Festival will be held until 3 October 2010.
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Until the end of the month, Mark Magazine is offering a digital edition of their current issue for the excellent price of free. Just subscribe to their newsletter. Not familiar with Mark? Mark is only one of the sleekest über-contemporary architecture periodicals around. The free edition is 228 pages packed with projects from firms and folks all over the globe. The two examples above are (upper) the headquarters for a cosmetics company by Müller Architeckten and (lower) a sports facility designed by plan:b with Giancarlo Mazzanti. The issue also features projects by Preston Scott Cohen, Eisenman Architects, Michael Maltzan, Neutelings Riedijk and many others.
I’ve been thinking a lot about Takashi Murakami and his work lately. There’s something about his work and his approach to art and commerce that I find really intriguing. The fact that he can ride the line between high end art and mass produced goods is also amazing as few artists can achieve such success.
In this months issue of Interview magazine he sits down with Alison Gingeras and talks about the way he works, his sense of curation and control and how he’s nothing like Andy Warhol.
MURAKAMI: It’s true that I pick up many ideas from different Japanese things. The way I formed my studio and how I organize things actually came out of the model of the Japanese animation studio and the manga industry. The manga industry is gigantic in Japan. There are so many layers to the business, like making a video, making a spin-off game, cards . . .
GINGERAS: And figurines and printed matter . . .
MURAKAMI: Yes, everything. It’s kind of like creating something like the Star Wars franchise. A single big hit for a manga studio means tons of money. One can gross more than a movie. The Japanese invented this industry. I’ve been immersed in manga since I was a kid. I grew up with this culture. So I started to think about how to compare manga to contemporary art. The contemporary art industry did not yet exist in Japan when I was starting out. Contemporary art and manga—what is the same about them? Nothing, right? The manga industry has a lot of talented people, but contemporary art works on more of a solitary model. No one embarks on collaboration in contemporary art in order to make money. But in the manga world, everyone is invested in collaboration. The most important point is that the manga industry constantly encourages new creations and creators.
GINGERAS: Like passing the creative baton?
MURAKAMI: Yeah. Manga culture grows and educates these artists. So I learned from that experience. Manga uses Japanese traditional structures in how to teach the student and to transmit a very direct message. You learn from the teacher by watching from behind his back. The whole teacher-master thing is part of Asian culture, I think. So I guess I agree with you in that respect.
One of my all-time favorite artists Os Gemeos have recently finished a giant, beautiful mural in New York with the help of the eternal Futura 2000 and it’s just slightly amazing. It’s titled The Giant Project and is a huge mural in Chelsea on the exterior wall of PS 11 (320 West 21st street. The end result is amazing, like I can’t believe that a bunch of guys on a crane can create some so huge and beautiful.
I think Futura’s patterns work really well on the shirt and definitely blend in well with the twins’ art. Plus his flag pants are kind of amazing, like something you’d see in a Vampire Weekend video or something. Has anyone walked by and seen this in person yet?
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