Professional Canadian athlete Justin Kelly celebrates retirement by hitting the road on his motorcycle and enjoying the waves in Malibu. Share in Justin’s vision for sustaining his love for travel after retiring his #27 jersey and completing a remarkable ice hockey career.
https://www.justinkelly27.com/
Website: https://www.livingvehicle.com/
From an Art Review online article:
I chose to call myself a portrait photographer because labels were always being thrown on me. When I was at Rolling Stone I was a ‘rock-and-roll photographer’, at Vanity Fair I was a ‘celebrity photographer’. You know, I’m just a photographer. I realised I wasn’t really a journalist. I have a point of view and, while these photographs that I call portraits can be conceptual or illustrative, that keeps me on the straight and narrow. So I settled on this brand called ‘portraits’ because it had a lot of leeway. But I don’t think of myself that way now: I think of myself as a conceptual artist using photography.
I remember going to the Factory in 1976 and watching Andy Warhol work. I’d been there before, earlier in the 70s, photographing Joe Dallesandro and Holly Woodlawn, and then Paul Morrissey. Warhol was a fixture of New York. It was just shocking when he died, because he was everywhere. I don’t know how he did it, but he was out at everything. You felt that if he was at a place you were at, then you were at the right place.
Warhol had things everywhere in the Factory – silkscreens all over the place, and tables of artwork – and things were always going on. I think Fran Lebowitz was there for Interview magazine, and [Warhol] was photographing the sisters from Grey Gardens [1975]. I was just a fly on the wall: there were people milling around doing all kinds of things, it was a pretty active place.
To read more: https://artreview.com/features/ara_winter_2019_annie_leibovitz/
Gauguin’s stay at the Yellow House is mired in controversy. What really happened? Bernadette Murphy, author of ‘Van Gogh’s Ear: The True Story’, considers those fateful days from Gauguin’s point of view.
The Credit Suisse Exhibition: Gauguin Portraits 7 October 2019 – 26 January 2020 Book tickets online and save, Members go free: https://bit.ly/2IspPWH
The first-ever exhibition devoted to the portraits of Paul Gauguin. Spanning his early years as an artist through to his later years spent in French Polynesia, the exhibition shows how the French artist revolutionised the portrait.
Exhibition organised by the National Gallery and the National Gallery of Canada, Ottawa.
From an Apollo Magazine article:
Jencks’s book grew out of his PhD thesis, supervised by Reyner Banham at the University of London in the late 1960s, and paved the way for his later, more explicitly polemical The Language of Post-Modern Architecture (1977). In this bestselling book, Jencks set out his stall for a pluralist architecture that rejected what he saw as modernism’s reductive ‘univalent’ approach, swapping it for a symbolically rich and historically engaged ‘multivalent’ postmodernism. For good or bad it became the defining book of its era, an unabashed rejection of mainstream modernism that ushered in a new architectural style.
Modern Movements in Architecture (1973) by Charles Jencks was one of the first books on architecture I read, a birthday present given to me the summer before I started my degree. In some ways, it spoiled things: I thought all architecture books would be that much fun. Modern Movements in Architecture is a complex and sophisticated history, but it wears its learning lightly. It relates architecture to a wider cultural discourse and it is unafraid to be critical, even of some architects, such as Mies van der Rohe, who were previously considered to be above criticism.
From a Stanford University News article:
Byer also helped develop the quietest, most stable laser in the world, called the diode-pumped YAG laser. YAG lasers are today found in everything from communications satellites to green handheld laser pointers, which Byer co-developed with two of his graduate students and cites as one of his favorite inventions (he had joined Stanford in 1969). YAG lasers also form the main beams of the gravitational wave-detecting instrument, LIGO, which in 2015 achieved the most precise measurement ever made by humans when its antenna detected the tenuous spacetime fluctuations generated by two colliding black holes 1.3 billion light-years away.
Robert Byer was 22 years old when he first saw the light that changed his life.
One summer morning in 1964, Byer drove the hour from Berkeley down to Mountain View for a job interview at a California company called Spectra Physics. He walked in to find an empty lobby but could hear clapping and cheering in the back of the building. After politely waiting for several minutes, he followed the commotion to a darkened room filled with men whose jubilant faces were illuminated by a rod of red-orange light that seemed to float above an instrument-strewn table
To read more: https://news.stanford.edu/2019/11/19/life-changing-first-glimpse-laser/
Director: KEVIN STEEN
Producer: ALEXANDRA BYER
Cast: ERIK WILKIE, YVONNE WILKIE, JAKE BOYCE, JAMIE LEDUC, AND CHRISTIAN DALBEC
Cinematographer: SHABIER KIRCHNER
An intimate portrait of midwestern lake surfer Erik Wilkie. Presented by CARHARTT AND HURLEY.
Website: https://rathausfilms.com
From a New Yorker online posting:
Fradon’s elaborate drawings were generous masterpieces of compressed fun. One carefully detailed illustration, published in 1987, depicts a chauffeured convertible making its way up a manicured, tree-lined drive, toward an extravagant hilltop mansion. The self-satisfied owner, seated in the rear seat, says to his companion, “It’s my one indulgence.”
Dana Fradon, a New Yorker cartoonist who died on October 3rd, at the age of ninety-seven, was the last of the magazine’s legendary artists who were brought to its pages by Harold Ross. Fradon, starting in 1948, contributed almost fourteen hundred finely honed drawings of mirth and satire. The surprising stories and frozen moments in his work entertained and delighted readers for decades.
To read more: https://www.newyorker.com/culture/postscript/the-timeless-cartoons-of-dana-fradon
From a The Modern House online article:
Away from the city, Roger escapes to his home near Poole, Dorset for what he calls an ‘analogue retreat’. To hear Roger talk about the inspirations behind the building, which resembles an up-turned boat and which is both eccentric and serene, fun and functional…
For the final instalment in this batch of our Masters of Design series, we’re paying a visit to architect Roger Zogolovitch’s boat-inspired house near Poole, Dorset – the recipient of two RIBA awards and a paragon in split-level living. Watch the film here.
Roger is the founder and creative director of Solidspace, an independent developer focused on unearthing the potential of backland gap sites rarely noticed by mainstream housebuilders. By skillfully utilising overlooked sites in the urban environment – adjacent to railroads or between and above office buildings, for instance – Roger proposes intelligent design solutions to the challenges of providing enough homes for a growing population.
Directed by: Barbara Anastacio
Even though the image-maker’s large color works are held in galleries around the world, Vitali chooses not to display any photography in his home. Instead, the crumbling walls, sky blue vaulted ceilings, eroded slogans, frescoes and marble archways of the church provide as much narrative as any image.
An assortment of inflatable alligators, damp bodies and candy cane-colored umbrellas typify Italian photographer Massimo Vitali’s ongoing Beach Series, which he began in 1995. Born in Como, Italy in 1944 Vitali’s internationally recognized panoramas of busy ski resorts, clubs, pools and piazzas explore the multilayered stories present in communal leisure places.
This Barbara Anastacio-directed episode takes us away from the crowds and into the tranquil Tuscan city of Lucca where Vitali lives with his wife and son. The photographer’s home is a fourteenth-century church, which—in one of it’s most recent incarnations—was used a boxing and fencing gym for young fascists during the Mussolini years.
To read more: https://www.nowness.com/series/my-place/massimo-vitali-barbara-anastacio
TRAVEL DRAWINGSThe office engages in a hybrid design process that is directed by analog forms of representation and digital production techniques. Each project is explored using a matrix of different media lenses, including painting, hand drawing, physical models and mock-ups as well as cad, hyper-photorealistic renderings and 3D computer models, wherein application and implication are prioritized. We believe this fusing of media provides a larger, more creative palette from which to work. Travel drawing also serves as a platform of inspiration and a fundamental aspect of research and development.
This approach stems from my own formal education and the unique 10-year period in contemporary history in which I studied architecture. Occupying both “paper” and virtual / digital environments, I learned the fundamentals at Tulane University using purely traditional architectural methods of representation. By the time I earned my Masters from Columbia University, the pedagogy had radically changed, wherein the old, analog systems of production were abandoned for a purely paperless studio that solely engaged digital technologies such as Maya, Max and Photoshop. Working within both territories, I learned that each medium has a profound effect on the way in which we draw, design and understand architectural space and form.
Meanwhile, after leaving Columbia, I set out to rediscover the practice of drawing on the road and have since made over 800 paintings, sketches and notes of architectural details, buildings, cityscapes, art and culture. These personal “drawings on the road” have evoked an intensive physical and living architectural investigation of how I process and perceive information. In the authentic and active experience of drawing — of physically recording what we see — I believe we develop a new way of seeing. We bring back sketchbooks that are full of information and analysis as well as a better understanding of architectural persistencies that make what we see matter. This level of engagement furthers the architect’s artistic intuition and enables him or her to see anew.
Boomers Daily 