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HONORABLE MENTION

Our latest interview finds us amongst the company of Trackademiks. A fixture in the Bay’s current music landscape and a seminal figure to the evolution of Bay Area hip-hop. Emilio Courtade sits down with Trackademiks to talk about his early beginnings making music, to his current roll as Honor Roll representer.

Category Archives: Art

LOST HOOPS

Adrian Skenderovic chases rural hoop courts around the world

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Adrian Skenderovic
Photography by Adrian Kenderovic

When I was a young’n somewhere round four, five, or six, I used to play a game in the car with my parents. It was called, “Hoop.” There really wasn’t much to the game aside from the goal; to spot as many hoops as possible in a single car trip. When you spotted a hoop with a rim, you yelled out “Hoop!” And that was it. It was tight though. It went on for years.

Although those type of hoop games are long gone, cultural photographer Adrian Skenderovic has breathed new life into my childhood past time. Opting to travel the world in search of the compelling and memorable, Adrian’s most recent work unearths a collection of rural courts from around the globe. Intriguingly distant, Adrian’s photos also relate the transcendent nature of basketball, its global popularity, and its universal appeal.

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BLACKFISH

A new documentary takes a look at the plight, and the wrath, of killer whales in captivity

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Blackfish

In February of 2010, aquatic trainer and performer Dawn Brancheau lay beside her 12,000 pound colleague, Tilikum, at the end of their SeaWorld Orlando show. In a few inches of water, Branchaeu affectionately stroked the orca, letting her long blonde hair drift into the water and unknowingly into Tilikum’s mouth. Suddenly, Tilikum yanked Branchaeu deep into his performance pool, shook her violently, and repeatedly dragged her under when she tried to break free and swim to the water’s surface. Meanwhile, families who had gathered around the huge glass tank for a photo-op instead watched awestruck as Brancheau body’s endured drowning, blunt force trauma, a severed spinal cord, and fractures to her jawbone, ribs and a cervical vertebra.

Brancheau was the third death involving Tilikum in his 27 years in captivity, after drowning a previous trainer and one particularly bright park-goer who snuck into Tili’s tank after the park closed one evening. Each of the victims suffered severe beatings at the Tili’s hands (fins?), but none of the casualties was quite as shocking as Brancheau–a highly skilled and professional trainer who had carefully coaxed Tilikum into his adulthood as a performer while providing for his needs as a member of the wild animal kingdom.

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CELLAR DOOR

San Francisco based artist Meryl Pataky bends metal and takes names

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One day we’ll have our own neon signs, but in the meantime let us marvel at the work of Meryl Pataky. A San Francisco based mixed media artist, Meryl’s work consistently revolves around elements found on the periodic table. From silver and copper to neon, iron and carbon, Meryl creates a variety of abstract works that relate to her concept of universal connectedness. In doing so, Meryl combines technical expertise–from welding to glasswork to metalworking–with her own personal narrative, building complex pieces that invite the viewer to guess at what thoughts and experiences influenced her process.

Most recently, Meryl’s work has been featured within the walls of The Shooting Gallery in San Francisco. In her exhibition entitled Cellar Door, Meryl recreates the elemental symbol of the noble gases: helium (He), neon (Ne), argon (Ar), krypton (Kr) and xenon (Xe) pumping the glass tubes with the material they represent. Also juxtaposing her neon pieces against natural outdoor backgrounds, the artist effectively alters the character of the neon, placing it in unfamiliar territory, and thus giving the signage and accompanying words new meaning. Cellar Door is currently running at The Shooting Gallery until August 10th, but keep up with Meryl here to follow her artistic exploits.

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MOMENTS FROM WORK IT OUT

We went in

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Saturday night was too real. Someone told me it was the 2014. Really one for the books if you ask me. Everything just came together, really can’t be mad at too much. Whole lotta superstars in the building Saturday night. Whole lotta positivity in the building Saturday night. It was hard not to notice.

Whole lotta thank you’s to throw around too. First and foremost to the folks that stepped inside our doors, thank you. It’s really all about you. You make our celebrations what they are. We also got a lot of help this time round from a few unsung heroes, namely CP and Morgan who lent their time and effort to ensuring that things flowed smoothly. Undoubtedly though, the most love goes to Yung_smh, who threw down a marathon set for the ages.

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EVERYBODY STREET

New York's legendary street photographers, past and present, share their stories

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Everybody Street

Bruce Davidson’s seedy, soulful Subway. Jamel Shabazz‘s nostalgic portraits of high-top fades, shell toes, and dookie rope chains. Mary Ellen Mark’s teenage runaways. Ricky Powell’s classic, impromptu shots of Chuck D or the Beasties. Too many great photographers to name have found inspiration in the hyperkinetic cluster of urbanized energy that is New York. Images shot on the streets of the big city have shown us some of the ugliest, most serendipitously beautiful moments imaginable, most of them shot purely out of instinct.

Three years in the making, director Cheryl Dunn’s Everybody Street collects interviews, archival footage, and of course, treasure troves of iconic street-level imagery, to paint a broad-based portrait of an art form that evolved along with the city itself, turning the endless possibilities of the street corner into a canvas for something transcendent. Some of these images speak for themselves, even out of context–the grisly aftermath of a streetfight, a junkie shooting up, Brooklyn kids busting fire hydrants open–but hearing the folks who were there to snap them talk about that moment takes on a whole new level of realness. If the trailer is any indication, this one ought to be something special, for shooters and non-shooters alike. Hit the MORE for a few interviews from the film, with Ricky Powell, Mary Ellen Mark, and Bruce Davidson.

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CAR CRASH STUDIES

Photographer Nicolai Howalt takes us inside demolished automobile interiors

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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.

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Dear Trayvon

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ALL IMPERFECT THINGS

Humanizing "crime" through Pep Bonet's photographic portraits of Brazilian Transexuals

Transsexuals in Brazil by Pep Bonet / NOOR

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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.

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“ALL I WANNA DO IS…”

Director Steve Loveridge's biographical documentary explores the life and times of M.I.A.

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MIA

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.

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THE CHILDREN UNDERGROUND

What Romania's lost generation of street kids has to do with reproductive rights

Children Underground

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.

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