High-rise condo building reflected in windows of a modern glass-and-steel skyscraper in Akasaka, Tokyo.
Hey, the retro-future is calling. We’re guessing from sometime between 1973 and ‘79. It wants its junk back including this car that’s kind of a cross between a Lamborghini and a golf cart. But seriously, this obscure, tangerine-colored, three-wheel vehicle is called the Bond Bug, a “microcar” produced in the early 1970s by Reliant, a U.K. company that had purchased the firm Bond Cars, Ltd. Only about 2,300 Bond Bugs were ever built. We found this one parked next to an art gallery in Solana Beach, near San Diego, California.
Artist Zoe Leonard’s 2016 public art project under the Standard Hotel building on the High Line in New York City was a powerful political statement. It’s titled “I Want a President” and it was originally created in the 1990s in response to that era’s political climate in NYC. It was installed as a massive page of text on the High Line to coincide with the 2016 presidential election and 2017 inauguration of the Trump presidency. But it is all the more potent and relevant today in 2018 as it was a year ago or twenty years ago. Few artists so far have been able to voice the frustration, resistance and anger at the current states of governance and leadership in the U.S. in as captivating a way and on such a grand scale as this. Read the full text of the artwork via this PDF.
“Can’t Steal Our Vibe” is a lo-fi, black-and-white ‘zine published by Lone Wolfs (sic) Objets de Surf, a surf brand and shop in Venice, Los Angeles, as well as a music production company and studio.
CSOV is more of an art zine than a surf mag and has virtually nothing intrinsically to do with the act of surfing itself or the “sport.” It’s more a mirror reflection and by-product of surf culture and Venice Beach, with endearing surf illustrations and photos and a brief Q&A with former surf-pro and Venice resident Brad Gerlach.
It has no real articles or substantive text in the usual sense, but instead relies more on images and artwork. The overall effect is one of an aesthetic and a vibe, which makes its title all the more apt.
“Can’t Steal Our Vibe” comes off as a vapid, hasty and lazy throw-away of a magazine produced with tongue-firmly-in-cheek, great if inscrutable style, and zero fucks given. Its got the intellectual nutrition value of a Twizzler. But it’s a Twizzler we want to keep chewing over and over and over again.
One of our current projects here at Global Graphic is a music collaboration turned band called Aloha Death. We’ve just released our second tune! It’s called “Shibuya” (Yay!!!) and you can find it now on iTunes, Spotify, Pandora, etc.
We found this street art on a local newspaper box in the kinda gritty, kinda hipster Kaimuki neighborhood of Honolulu. It’s a further sign of continuing gentrification of this drab suburban patch on Oahu’s south shore. Truly, there’s trouble brewing in paradise. The opening of more high-quality third-wave expresso bars is only going to accelerate.
Smack in the middle of the Pacific Ocean, far, far away from any significantly large land mass or continent sit the Hawaiian Islands. This archipelago is a well-known paradise full of lush flora, beautiful beaches, dramatic mountain ranges, gorgeous waterfalls, volcanic landscapes and a warm, balmy climate where the water and air temperature are roughly equal year around. For better or worse, it’s a tourist mecca, but still a genuine paradise nonetheless.
Yet there’s a darker side.
It’s often overlooked that Hawaii is home to over a million people! A MILLION people hunkered down on a few small islands in the middle of the Pacific. That’s a million-plus humans planted on the most remote islands in the world! Most of these people are on the island of Oahu and its modern capital city Honolulu. There you’ll find all the features of a large metroplis — Freeways, skyscrapers, multi-level luxury shopping malls, and hipster-run third-wave coffee shops serving creative and obscure espresso-based beverages!
And like almost any major city there are homeless, crime, and some strata of economic misfortune. The last may be most visibly measured in the number of pawn shops in a city, easily spotted in the evening by cheap neon signage that cut right to the chase of the transaction terms.
It’s a telling sign of contemporary Hawaiian culture when the pawn shop specifically says it offers cash for ukeleles, like the one pictured here in the Kaimuki neighborhood of Honolulu.
The iconic ukelele is Hawaii’s major modern contribution to the world of music and has become a symbol of its culture, even though it was invented in the 1800s and inspired by a Portuguese stringed instrument. Which makes it all the more poignant that there’s probably a person somewhere in Hawaii who is at this moment contemplating pawning their beloved uke so they can pay an unexpected medical bill or make their car payment. That neon sign, and the financial distress it implies, is in stark contrast to every popular image of America’s 50th state.
It’s paradise. But not for everyone, it seems.
When you aim a video camera at a live video projection generated from the same camera in real time, the results are fascinating and in the right circumstances can created biological-like patterns akin to “brain coal,” as seen in the above screenshot and video below, which was made by Ethan Turpin. Awesome.
We’re not religious. But museums are our cathedrals, our churches and temples, our shrines. MoMA may be the modern art world’s Vatican, but in terms of pure open space, MoCA’s Geffen Contemporary in Los Angeles comes closest to a giant cathedral like Notre Dame with its massive, cavernous structure. We’re not saying that this museum is equivalent to Notre Dame as far as degree of architectural achievement and historical significance. We’re saying that it is a big fucking space and one that invites reflection and a kind of awe.
The Geffen was kind of a happy accident. The building wasn’t purpose built to be a contemporary art museum. The structure is in LIttle Tokyo in Downtown LA and was originally built in the 1940s for the city as a warehouse and LA Police Department garage accommodating hundreds of vehicles. At the time, MoCA’s use of the space was purely practical.
While the main landmark MoCA branch was being built on nearby Grand Avenue in the early 1980s, the warehouse/garage in Little Tokyo was used as a temporary exhibition space dubbed the “Temporary Contemporary.” Its purpose was to host art shows until construction of the new main MoCA would be completed. The acquisition of the building made sense. The Temporary Contemporary was a success.
It was repurposed as a permanent exhibition space and extension of MoCA. Architect Frank Gehry led the effort. The Geffen’s location is walking distance to the main MoCA location in Downtown LA, and the former LAPD garage offers the kind of space that allows for sprawling exhibitions and epic, large-scale sculptural artworks and installations that might be more diffciult or impossible to mount in other museums.
We recently went to a series of meetings at a creative agency in Southern California. The walls of the conference room where the meetings were held were covered in wheat-paste street art. Most of the artwork was boldly illustrated black-and-white poster cut-outs of hand-drawn graphics in a comic style. Our favorite was a large graphic of a masked Mexican “lucha libre”-style wrestler. The artwork gave the conference room a lot of energy and a sense of fun, while showcasing the tastes of the company’s creative team.
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The cafe at Menotti’s Coffee is a third-wave espresso joint and a friendly little hub for the legion of caffeinated locals and a certain stylish subset of Silicon Beach worker bees in the heart of Venice in Los Angeles. The baristas are serious about their coffee game but with zero pretension, in spite of the smattering of hipster accoutrements. Sure, there’s a skateboard and fixed-gear bicycle propped against a wall inside the cafe, and there’s beautiful, curated art photography on the wall, but its presence seems more a natural byproduct of taste than strategic. Across from the cafeteria is the famous, epic-scaled Venice “Touch of Evil” mural. On a slow day, we’ll cruise over to Menotti’s on our bikes for a long break and a flat white cappuccino.
Menotti’s Coffeeはロサンゼルスのヴェネツィアで “Silicon Beach”で働くスタイリッシュな若者やカフェ、親しみやすい小さなエスプレッソバーです。 カフェバリスタはコーヒーについて真剣です。 彼らにはプレテンションはありません。 しかし、彼らはヒップスターです。 もちろん、カフェの中にはスケートボードと固定式の自転車があります。 壁に美しくキュートな芸術的な写真があります。 これはメノッティスタイルの例です。 カフェの通りを渡って、有名な、壮大なサイズのヴェネツィア「Touch of Evil」の壁画があります。 私たちが忙しくないとき、仕事から休みを取って、メノッティに自転車を乗せて、美味しいフラットホワイトのカプチーノを飲むことにします。
Auteur film director Wes Anderson has produced an amusing short Christmas film (see below) as long-form commercial for the global Swedish clothing retailer H&M. It’s called “Come Together” and stars Adrien Brody as the conductor of a train carrying passengers through a winter holiday storm. The four-minute film is an exercise in branded content for H&M. Aside from a logo “bug,” branding itself and commercial messaging has been kept to a minimum at the end of the video. “Come Together” is quintessential Anderson in terms of style, editing, production design and cinematography, and it is as visually charming as anything we’ve seen from the director. Anderson has directed commercials for other brands in the past and you can see some of them online at AdWeek.
Eventually every favorite old shirt reaches a point of wear and tear that signals it’s time to throw it out. Such was this case this past week with this light pink “Pop Classics” t-shirt by Swedish clothing brand Acne Studios, pictured below. We had been wearing the tee regularly ever since we purchased it at the Opening Ceremony store in Los Angeles 4 1/2 years ago. The shirt had finally developed one hole too many.
We’re big fans of Acne’s clothing and we’re sad to see this shirt go as it was the most comfortable, well-fitting and perfectly designed t-shirt we’ve owned. That says a lot given that the t-shirt, as global wardrobe staple and ubiquitous fashion commodity, is one of the most mass-produced items on the planet. One would think it would by now be difficult to improve upon. But this t-shirt had.
This somewhat cryptic message on this billboard in New York’s Hell’s Kitchen neighborhood would seem to be largely meaningless to most people who might see it. But for the 2,000 or so people who work at the global advertising agency Ogilvy (a.k.a., Ogilvy & Mather) and its worldwide headquarters, which occupies an entire building across the street form the billboard, the message is clearly aimed at them. The billboard is a click-baity type ad driving to a website for Intridea, a technology development company that’s pitching its services to major ad agencies.
The late Paris-based Venezuelan artist Jesus Raphael Soto made a career of painting, sculpture and optical and kinetic art. It was the last of these for which he’s perhaps best known, such as this interactive, immersive “Penetrable” installed in the plaza in front of the Ahmanson building at the sprawling Los Angeles County Museum of Art, or LACMA.