The landmark Pacific Standard Time in Southern California is drawing to an end, an art event/happening/showcase that shared the history of mid-century Los Angeles and Southern California. The series of art shows kicked off in October and pushes on (officially) through Saturday, when it will end. To celebrate its closing and wish it a fond farewell, we have acquired a ton of limited edition matte posters that we want to giveaway!
We have three posters in total–one Ice Cube Celebrates The Eames, one Jason Schwartzman Celebrates John Baldessari, and one Anthony Keidis Celebrates Ed Rushca–which you can win if you tell us a few things. We want to hear what Southern California art means to you. Tell us who your favorite artists are and how you think they’ve shaped the greater artistic landscape in the world. Have any directly influenced you? How has that influence manifested itself? Give us your answer via Twitter with the hashtag #TFIBpst or on our Facebook post here.
This answer could be as long or as short as you want it to be: we just want to hear why Southern California art is important to you and what you think its place in the world at large is. Entries are due by April 10. If you want to up your chances of winning a poster, you can also enter a concurrent contest over on Los Angeles, I’m Yours. We can’t wait to hear what you have to say!
When I first saw these photos, I thought they must be renderings, but they’re not and the space actually exists. The project just looks surreal, too surreal– with more cuts and folds than a Libeskind project. And to make things less clear, the function of the space isn’t obvious (is it an entryway?). So we’re left imagining a client that would call up an architect, in this case One Plus Partnership, and ask for a lobby that looks more like a movie set than the foyer of an office building.
As much as I don’t want to like the space for being completely over the top, I can’t help but want to go there and admire the work of the folks that designed this. It is absolutely a cave: there are wonky walls, tricky floors and stalactites (or maybe those lighting fixtures are supposed to be glow worms). The overall effect is definitely neither warm nor inviting, but cold and compelling in a way that is simultaneously exciting and absurd. So I recognize the skill that went into realizing this space even if the result is a little too much… too much.
Found through Contemporist
Everyone’s new favorite grooming product makers, Malin + Goetz, has skipped coasts and has very recently opened up shop in Los Angeles. The store they opened is very much like their products, impeccably designed, cool, and clean, definitely a very inspiring place to pick up things that keep you looking your best. We got a chance to take a peek at it opening night, which brought out Mr. Malin and Mr. Goetz themselves to kick off the store’s opening and to welcome Angelenos into the store. It also must be noted that the brand scored a great spot in Larchmont Village, a cool, historic, and central neighborhood, making it easy for everyone to visit. They’re right next door to fellow New Yorkers Babycakes‘ second Los Angeles location, which definitely confirms that they are destined to do great business and keep their cool train running quite quickly. Take a peek into the store here.
The Sydney-born and London-based artist Kareena Zerefos creates these stunning images using graphite, markers and ink on paper. Her work often explores the connection between children and animals, and that childhood desire to “run away and join the circus.”
Indeed, Kareena herself notes that her work is inspired by a yearning to escape. Her images are about journeying to a world of make-believe, and for her, this has led to illustrations that are filled with isolation and bittersweet nostalgia. They are beautiful images and the combination of her style and the touching nature of her subject matter form a magical body of work which I’d be quite happy to escape to for any length of time.
Yesterday, Sigur Rós released a brand new track and music video called Ekki Múkk in advance of their upcoming album, Valtari. It’s been nearly 4 years since their last album Með suð í eyrum við spilum endalaust, perhaps because Jónsi has been busy with side projects, as I’m sure other band members have been as well.
This new track is nice, a slow and steady 7 minutes of Sigur Rós-ness. That may also be it’s downfall, as it seems like something Jónsi could have made in his sleep. It’s not bad, but it’s not original nor epic feeling like the tracks from Ágætis byrjun. I started writing this post as an “OMG SIGUR ROS” but after listening to the song 7 times on repeat it’s just kinda… flat. Here’s hoping the rest of the album is more exciting. Here’s the tracklist:
1. Ég Anda
2. Ekki Múkk??
8. Fjögur Píanó
Browsing through Dribbble earlier and came across the designer of the new Pay with Square icon, Robert Andersen. I was simply going to tweet “OMG MY BRAIN EXPLODED” but I feel like Robert’s work deserves more love than that.
The image is detailed beyond belief, I can’t imagine where he even started with this. Referencing the holograms you find on credit cards, Robert has created a piece of art that I would absolutely frame on my wall. What’s wonderful to me is that he put so much detail and love into this icon, something that most people (non-designers) won’t give a second thought to. So please take a second, click the image above to see the large version, and soak in the details in this labor of love.
To see more of Robert’s work I’d suggest checking out his Dribbble account. If you get jealous easily you probably shouldn’t click that.
Today is Erik Marinovich’s birthday, so I figured the best thing I could give him was a post about how awesome he is, because it’s the truth. I’m not even sure how we met, though I’m sure Twitter was involved in some way. I’ve posted/worked with Erik a number of times, but if you’re unfamiliar with him he’s one part of Friends of Type, shares a studio space with Jessica Hische and has some of the best damn hand-writing I’ve ever seen. Plus I love his interpretation of Always With Honor’s fox logo!
He recently sent me a little care package, complete with a fully lettered package with an exclusive Friends of Type tote bag inside. I’m happy to admit that I didn’t throw the envelope above away and I fully intend on framing it. It’s a work of art that was made exclusively for me, and I’m proud to show it off. Happy birthday Erik, you talented bastard, and keep up the great work.
Update: One more thing. You should also check out this print he did for 8 Faces, and download the wallpaper he made to go along with it. This guy is unstoppable.
Above are two similar but distinct visions of the future as predicted from the earlier half of the 20th century. The illustrations are from 1946 and 1934, both foretelling a future where we inhabit giant and mobile spheres. In the color illustration, we have an atomic-powered pleasure palace: a gyro-stabilized stack of decks, pools and dance floors. Why? Because of all the free time we were supposed to have after the end of WWII. The black and white illustration promises a future where our houses follow us wherever we move.
Although both proposals may look naive to us now, they confront a limitation of architecture that has persistently interested architects: creating non-static structures. And while there are plenty of projects with large, moveable parts, none have achieved this kind of mobility. It’s simply easier for us to move somewhere new than to drag our old house across the country like a giant ball and chain. The massive amounts of free time promised at the dawn of the atomic age never materialized for the american worker; so the roving plastic pleasure spheres might as well have been other planets.