Brooklyn based artist Kevin Cyr (I just pronounce it c-y-r, like nyc. Sorry Kevin.) finds beauty not in status enhancing symbols, but rather the “derelict…and unkempt…vehicles inundated with rust and graffiti…”, objects that contain a thousand fold more character than a Porshe or Skyscraper. The socially “ugly” can still inspire curiosity in the viewer.
With this in mind, Cyr created a functioning (sculpture) hybrid of two staples of back road travelers: the RV and the bicycle. It’s (drumroll please): The Camper Bike. The aim isn’t to revolutionize the lifestyle of the wayward traveler; it’s just an experiment in combinations. But, if Kevin ever wanted to go commercial with the idea, I’d kinda want one.
Also check out the Camper Kart, for the traveler who prefers to amble through the countryside.
Willard Wigan can’t read nor write. In fact as a young learning disabled student, Wigan’s teachers would belittle him, confident that he would amount to nothing. Little did they know, he would be amounting nothing into micro-sculptures and reaping fame and fortune from rare art collectors and even honors from the Prince of Wales! (More…)
I live in Rhode Island and love it. It’s physically gorgeous and hovers around an almost unnerving level of eclectic throughout the summer months. It’s a curious little state.
Some of that curiosity comes from a man named George Wein. A little over 50 years ago, he established the Newport Jazz and Folk Festival. He’s the man that combined music and the ocean into one lovely little package. He also provided the setting for Dylan’s electric debut.
Anyway, over the past four or five years, the Folk Festival has done a phenomenal job of picking a nice mix of established talent and newcomers and this year is no exception. Mixing The Avett Brothers and Andrew Bird with Ben Solle (who kicked off A&V MIxtape No. 5) and Edward Sharpe & The Magnetic Zeros, it’s…just…god, I lov George Wein.
Not only that, the promo video released yesterday is sweet, mostly because it’s kind of reminiscent of a Spongebob/Puff the Magic Dragon mash up.
Hans Hemmert’s project Level from 1997 consisted of a party thrown by the artist where each guest wore shoe extenders to make everyone two meters tall. At my towering height of five feet, one and a half inches (on a good day), I feel like I could really use a pair.
Hemmert used Level to eliminate awkward body language and bring all guests to the same level. It’s interesting to see how a simple height change can cause new dynamics in a group.
I guess maybe these shoes aren’t always the best idea, doing the twist might be a little tricky with a foot and a half of blue foam strapped to your legs. It’s a good thing they don’t really look like the dancing type.
Check out Hemmert’s other work and the work of his collaborators in the art collective Inges Idee here.
In a companion piece to the love flick 500 Days of Summer, director Marc Webb tapped into his creative juices and concoted a little romantic vignette for the starring duo Zooey Deschanel and Joseph Gordon-Levitt, set to She and Him’s minor hit “Why Do You Let Me Stay Here?” Naturally, I eat up anything Ms. Deschanel touches, and this was no exception. Enjoy.
They say that watch it is “an animated GIF paranoia about non-stop design workers.” I say that watching it is time well spent. Side note: GIFs are SO Geocities circa 1996. Right? Nah.
Sure, you spend an embarrassing amount of time staring at your computer. But little do you know, you’re getting stared at in return. The good folks over at Conditional Design have taken the liberty to show us what it’s like on the other side of the mirror. See the rest of the Laptop Reflections collection here.
Currently on his Ben Folds and a Piano tour, Folds recently brought in a digital element to his show by using Chat-roulette with his audience. Playing in the style of Merton, the result is classic Folds. FYI, he edited out any nudity. Not that there’s any nudity on CR.
It’s one of those mornings where I’m getting quite giddy because I think I’ve found my new favorite thing. It’s that perfect mix of obscure, over the top, and hilarious that garners the respect it so rightly deserves. I give you Serge Gainsbourg’s Melody Nelson.
Released in 1971 as a concept album, Melody Nelson is basically a half hour long funky introspection by Serge recounting his Lolita-style love affair with the eponymous teen. The story (omgz spoiler alert) is as follows: Serge is trolling around in his Rolls Royce late one night when he hits Melody on her bicycle. Without missing a beat, he seduces her through the use of dark clothing and a lit cigarette and immediately following thereafter, they dance in front of a green screen for five songs, and then the torrid fling ends when Melody up and dies in a plane crash. Serge goes back to his cigarette and brooding introspection.
I probably should clear up here that the album itself is actually not that bad, in a corny French porn sort of way. I actually rather enjoyed it. It’s just…the music videos. Oh Serge. Those music videos. I dig that green screen was a fancy new technology in 1971 but just because you can be edgy and hip doesn’t mean that you should be. The future will most certainly laugh you off as a silly product of a bygone era (are you listening Lady GaGa?). Come on Serge, you must have realized that this would be recognized as hilariously embarrassing by future generations:
Oh well. C’est la vie. You can by the album on iTunes or blah blah blah blah blah seriously just stream it on YouTube.
The kids of New York’s P.S.22 are SO much more musically cultured than I was at their age. Led by their maestro Mr. B (probably one of the hippest faculty members the public school system has), these choral kids do Pheonix, Alicia Keys/Jay-Z, and Owl City (don’t judge). And they’ve even got ties with my neck of the woods, having teamed up with IC’s Ithacapella a little while back. See the rest of their (rather extensive) repertoire here.
