Photographer Nicolai Howalt takes us inside demolished automobile interiors
July 19, 2013 by Max Gibson
This morning I passed by a woman who had just hit a fire hydrant. There was water spouting 20 feet into the air, into the street, and onto her car. As she sat in her purple PT Cruiser, thinking about how fucked her Tuesday morning was, I wondered if this poor woman was thankful for anything. Or was she merely caught up in the moment? I mean, it could’ve been worse right?
These ruminations about cars, their utility, and potential destructiveness come to mind when considering the work of Nicolai Howalt. The Copenhagen-born artist’s photographs of accidents up-close relate the carnage of a car accident, situating startling imagery into an aesthetic context. In Nicolai’s collection, Car Crash Studies smashed interiors are juxtaposed against abstract images of warped metal and steel, opening up a dialogue about what kind of artistic merit one can pull out of something so crucial. “I wanted to see if cruelty also could have some beauty in it,” remarked Nicolai, in reference to his photographs. Jarring, but resonant, Nicolai’s photos offer a sobering reminder of an everyday reality, tracing a thin line between beauty and devastation.
July 19, 2013 BY Max Gibson
July 15, 2013 by Max Gibson
July 15, 2013 BY Max Gibson
Humanizing "crime" through Pep Bonet's photographic portraits of Brazilian Transexuals
July 12, 2013 by Danielle Schnur
Last month, a Texas jury acquitted a man who murdered a sex-withholding prostitute under the state’s law that allows its citizens to exert deadly force in the event of stolen property. And at this point, I’m surprised this stuff even surprises me anymore. The practice of denying criminalized Americans justice or even basic civil rights has become the rule, rather than the exception. Through a handful of current high-profile cases, the nation has divided itself based on their perceptions of those killed; murdered criminals vs. murdered persons who so happen to have been, or are alleged to have been, committing a crime. Our ‘War on Crime’ appears to have very literally manifested itself in the American courtroom where killing someone doesn’t send you to jail if you can prove that that someone was breaking the law.
When it comes to prostitution, things get really messy. The criminal status assigned to sex-workers in the U.S. allows for their grievous mistreatment by civilians and police alike. Reported acts of violence against sex-workers by their Johns are overwhelmingly dismissed by authorities, and violence inflicted by policemen themselves is even more prevalent. To think that this marginalized population is small and limited to street corners in dark downtown districts is a myth, as only an estimated 20% of our country’s sex-workers engage in “street prostitution” while the other 80% work via brothel, escort agency, solo hustle, etc. In fact, you probably know a handful of people who have accepted money in exchange for sex. And yet our collective stigmatization of sex workers directly contributes to their criminalization and thus the vulnerability they face in both their practice and the eyes of the law – a particularly troubling consequence when considering that the lines of ‘prostitution’ are as grey as an overcast sky hovering above 14th and International (See: gold diggers, sugar babies, groupies).
To offer a humanizing look into the faces of sex-work and sex-entertainment, I offer Pep Bonet’s photography of Brazil’s transexual community. Here, an obviously and unfairly marginalized population who are finding sex-work in those margins serves as the central focus of Bonet’s photo series, entitled “All Imperfect Things”. Bonet captures moments on black and white film with an intimacy that frees his subjects from the grandiose judgments that contribute to their personal and institutionalized oppression – replacing the ‘criminal’ with the actual, individual person. You can view the entire collection and more of Bonet’s incredible photography work here, on his personal website.
July 12, 2013 BY Danielle Schnur
Director Steve Loveridge's biographical documentary explores the life and times of M.I.A.
July 11, 2013 by Will Bundy
I still don’t think there’s been a record as important as “Paper Planes” since it dropped. I mean duh. But like damn. It’s incomparable. A complete anomaly in the pop landscape that somehow, to take a page out of the book of Yeezus, managed to pop a wheelie on the zeitgeist. In subsequent years, Ms. Maya has been treated to her fair share of criticism, and maybe some of the “she just likes stirring shit up” talk is warranted. Maybe not. The trailer for documentary is riddled with a kind of heavy-handed approach to all the controversy she’s incited, at home and broad. What I do know though is that “Planes”, and M.I.A.–as a symbol of a world in flux, and a mouthpiece for folks whose folks weren’t heard too often in the pop discourse–haven’t really lost much relevance in the near-decade she’s been around.
Director Steve Loveridge’s documentary about M.I.A.’s strange and unlikely story, unfortunately, looks like it’s been shelved for the time being, due to some vaguely articulated, fucked up entertainment industry politics. But, should the doc see the light of day (maybe via Kickstarter?), it promises to offer some insight into the story behind a game-changing career. Yeah, it’s got interviews with luminaries like Spike Jonze, Richard Russell and Yeezy. But the first thirty seconds of this teaser alone should give you something to chew on.
July 11, 2013 BY Will Bundy
What Romania's lost generation of street kids has to do with reproductive rights
July 2, 2013 by Danielle Schnur
Last week, Texas state senator Wendy Davis filibustered a bill that would have led to the most restrictive anti-abortion laws in the country. Her passionate stance met overwhelming, chauvinistic opposition by her male Republican peers and galvanized a female American audience concerned about their voice in politics, and access to rights. By talking for thirteen hours straight, Davis managed to block the proposed legislation, succeeding not only in garnering support from the Basedgod, but also in her efforts to protect a woman’s right to choose, as already protected under the U.S. Constitution.
But if you’ve ever so much as wondered what such a restriction on women’s reproductive rights would really look like — separate from infringing on your plans to prolong your college partying years into your 30’s or having to restrict the number of rando-tenderonis you pull — look no further than the eastern European nation of Romania. In 1966, Romanian communist leader Nicolae Ceausescu outlawed both contraception and abortion in an effort to increase the country’s work force. As an unintended consequence, thousands of unwanted children, born to unfit and impoverished parents, were placed in dangerous state orphanages or escaped to live in the streets. By the turn of the century, this population of street youth had reached an estimated 20,000 kids. Director Edet Belzberg’s 2001 documentary Children Underground reveals precisely what that meant for both Romanian society and this chronically neglected demographic.
July 2, 2013 BY Danielle Schnur
Sally Landis travels into the High Sierra to bring back these colorful creations
July 1, 2013 by Max Gibson
Thunderbolt Peak Acrylic on Canvas 24″ x 30″ © 2013 Sally Landis
It seems whether it’s miles away or within your own neighborhood, the value of exploration is invaluable. Seems even more valuable when considering the work of Sally Landis, whose lifelong love affair with the Sierra Mountains spawned countless visual creations. Traveling into the High Sierra since she was a child, today Sally often photographs the magnificent landscapes before taking them home to paint. Simplifying her landscapes down to their compositional elements, Sally uses this process to relate her love of pattern and color.
Having graced gallery walls from the Bay Area to Paris and Monaco, Sally’s imagery has most recently found a home at Warehouse 416 as part of June’s East Bay Open Studios initiative. Last week, we had the chance to speak with Sally about growing up in the mountains and what she’s gleaned from a lifetime spent exploring the California wilderness.
July 1, 2013 BY Max Gibson
Life on the road with Elliot Gold, and the outlaw biker gang that blazed a new trail
June 27, 2013 by Max Gibson
They called him Cameraman. Welcomed into The Chosen Few outlaw motorcycle club in 1971, California-born photographer Elliot Gold followed the legendary crew of bikers as a friend and observer.
Born from the mind of founder Lionel Ricks, The Chosen Few originated in Los Angeles in 1959, and established a presence across the country throughout the ’60s and early ’70s. While groups like The Hell’s Angels may have boasted more notoriety, and generated more widepsread controversy, The Chosen Few offered a similar level of grit and rough-hewn charm, but also managed to pose perhaps an even greater challenge to society at large. As the country’s first racially integrated outlaw motorcycle club, the power of The Chosen Few’s legacy is rooted in their ability to band together despite the prevailing prejudices of the day. Uniting under the common bond of brotherhood, The Chosen Few deconstructed social barriers while creating a culture of their own.
Over the course of two years, Elliot Gold travelled with the gang, capturing candid, intimate moments amongst the brothers who formed the collective. Following them on runs, outings, and other social events, Elliot captured an array of iconic images that help to give context in weaving together the narrative of the legendary Chosen Few. Needless to say, he picked up a few stories of his own along the way.
June 27, 2013 BY Max Gibson
Three-dimensional creations by Bristol's own George McCallum
June 24, 2013 by Will Bundy
It’s always cool to see artists take on new challenges, and push their work into new territory. When we last checked in with Bristol’s finest, he was still killing it with the illustrations, as usual, channeling a cartoony imagination, a lifelong love of comics, and an appreciation for the gnarlier things in life into vivid, colorful pieces. We were even lucky enough to have George lend his talents to an epic piece from Amanda. But even then, as George McCallum inched closer to art school graduation, you could see his work evolving into new forms–specifically, making its way off the page. Starting with plush toys, matchbooks, and signage, George began to adapt his zany aesthetic to three-dimensional objects, some of them even fully functional.
Since then, George has expanded the scale of his 3-D operation, supplementing work on smaller pieces like masks and apparel with larger, more complex pieces like furniture and housewares. And yet, despite the added level of craftsmanship, the tone of the pieces stays true to George’s sensibilities, from the eye-popping colors to the playful sense of humor. One piece, “Hand of Time” consists of a clock modeled after a wristwatch. The watch’s only hand though, rotates backwards at 2 RPM, poking fun at our obsession with time by being functionally obsolete. Another, “Chair Man Mao”, transforms the legendary dictator into a seat, adding a pair of Nikes to his feet for good measure. With art school in the rearview, and a dope body of work already under his belt, I think it’s safe to say this is just the beginning for Mr. McCallum.
June 24, 2013 BY Will Bundy
The Fairoaks Project paints an unforgettable portrait of San Francisco's storied gay bath house scene
June 6, 2013 by Will Bundy
Part of me feels like they can tell us, but we’ll never quite understand. Maybe you just had to be there. As much as I’ve been told, and as much as the ’60s and ’70s have served as a boundless reservoir of inspiration for me, there’s still something elusive about it all. The sense of freedom, and exploration, and radical imagination that defined those decades is something our generation, and others, have tried to recapture, but could never really duplicate. There’s something about a photograph though–whether taken for artistic or documentary purposes, or just as a memento of a moment someone wanted to hold onto–that can communicate a feeling instantly, across decades.
I’d imagine Gary Freeman felt that pretty powerfully when his longtime friend Frank Melleno pulled down a dusty cardboard shoebox, and started to thumb through the treasure trove of Polaroids that would become The Fairoaks Project. In 1978, Frank, fresh off an adventure in Alaska, had found a gig as the night manager at The Fairoaks Baths in San Francisco. Owned and operated by a gay commune, The Fairoaks was known in the late ’70s as a hub for sexual liberation and experimentation, but also close-knit community. Unlike most gay bath houses at the time, also, The Fairoaks was situated on the edge of a largely black neighborhood, and welcomed a steady influx of young gay men who reflected back the city’s rich diversity. It was a place to stay, to find support, to find friends and to indulge. Openness, unabashed sexuality, interracial love, friendship, fucking and LSD: it would be hard to imagine another place so broadly embelematic of the progressive ideals that defined San Francisco during the ’70s. Fortunately, Frank found himself at the center of it all, with a Polaroid camera in hand.
June 6, 2013 BY Will Bundy
Visual and biographical highlights from the photographic career of Ian Flanigan
June 5, 2013 by Max Gibson
There’s not much going on around 1317 Olive Street. Desolate warehouses line the streets, with sporadic fruit stands sprinkled throughout. More than a couple walkable city blocks away from Downtown LA’s revitalized core of upscale eateries and rooftop hotel pools, 1317 Olive Street stands alone. However, this nondescript location, situated in the middle of Downtown LA was once revered for housing one of streetwear’s most pioneering brands: for over twenty years, 1317 Olive Street was the home of the beloved Freshjive warehouse. Home to Rick Klotz’ now infamous streetwear company, the offices provided a temporary workspace for a variety of creatives in varying fields to work, connect and grow in their craft. As crass and irreverent as the Freshjive offices were, inside these walls is where I first met Ian Flanigan.
A former product photographer for an electronics company called Accessory Power, Ian came to Freshjive aware of but unaccustomed to the nature of Freshjive, and Rick Klotz’ idiosyncratic mind. His first day of work couldn’t have been more different from his last…
June 5, 2013 BY Max Gibson
Brandon Tauszik's new photo series captures Oakland's street-side murder memorials
Clusters of candles, empty liquor bottles, and personal effects on corners in East, West, and North Oakland are an all too common sight. These street-side memorials, ranging from the most subtle flower vase to trinkets filling the width of the sidewalk, are often erected at the spot of the murder and serve as a way for communities to remember slain loved ones. The public nature and commonality of these memorials also provide a haunting reminder of the dehumanizing effect that violence has here in Oakland; another member of the community, faceless to outsiders, has been reduced to candles and bottles on the sidewalk.
I was immediately drawn in by Oakland-based photographer Brandon Tauszik‘s latest photo series entitled “White Wax”, which is a collection of pictures featuring Oakland murder memorials. The familiar but evocative imagery is at the same time powerful and problematic for me. Art that depicts the results of systematic oppression can help to educate, but it can also glorify these situations for an audience that has only second and third-hand experience with the realities being addressed, if any at all. For people who have lost family members and loved ones, does this series trivialize their painful experiences? For those on the outside looking in, are we being desensitized to the violence that is happening just miles from our homes, looking at photos on the internet of memorials for people who we will never know? These questions don’t have simple answers, but I know other folks reading will be able to offer more insight than myself. After all, the Bowties is about nothing if not interaction. See other photos from the series below.