Posts Tagged ‘arts and crafts’

Let It Snow

July 15, 2009

Crash pad

Downtown New York artistic circles today mourn the death of Dash Snow, the former IRAK graffiti artist, sometime nudist, and all-around hipster deity who was also heir to an art-collecting dynasty. His work in the medium of Polaroids, collage and, err, his own semen has been alternately praised and derided, but what’s generally overlooked is the instrumental role his work played in Jake Johnson’s addition to the Sovereign Sect.

But first a word on the “hamster nest,” among Snow’s innovations that did not include bodily fluids:

Saatchi got them a fancy hotel room on Piccadilly. They had to flee it in the middle of the night with their suitcases before it was discovered that they’d created one of their Hamster’s Nests, which they’ve done quite a few times before. To make a Hamster’s Nest, Snow and Colen shred up 30 to 50 phone books, yank around all the blankets and drapes, turn on the taps, take off their clothes, and do drugs—mushrooms, coke, ecstasy—until they feel like hamsters.

Flash forward to the summer of 2007, when Snow and affiliates expanded on the idea for a gallery show; while the skateboard world was transfixed by the resurgent career of Peter Smolik, a young Jake Johnson endured a literal trial-by-fire intro to Jason Dill’s brand of artsy weirdness, as related in the most recent Thrasher interview issue:

Any good Dill stories?
One of the first times I went to skate with Jason, Brengar and I met him at 2 am at this art gallery downtown. It was this 10- by 10-foot cubicle room filled with newspaper shavings. It looked like this giant human hamster cage with little pieces of paper fluff everywhere and weird music playing. Jason was there and he got Brengar to film his buddy lighting an aerosol can on fire while Jason skated as fast as he could and ollied into this big hamster cage.

Iron, Ink and Elbow Grease

March 12, 2009

Seeing sounds

One of the things that continues to be worth celebrating about “Mind Field” what, a month after its release is that it represented a return to form for Alien Workshop in the art direction department – the MF ad campaign was generally pretty good and the preview clips were always quality, but as far as board graphics and the editing of other recent DNA video projects, some of it was a little pedestrian considering the source. So at risk of exacerbating what was probably Alien video overkill last month I thought this Transworld slide show/interview between Mike O’Meally and Mike Hill was a sort of interesting read and companion to the “Visual Workshop” feature on the DVD, as the sometimes gloriously low-fi work that went into the visual cacophony seems to have been at least as intensive as the dudes heaving themselves up, over and onto railings, and it’s cool that paper mache remains a viable art form somewhere.

MO: Are there any special things that people should look out for in this next video that is different to the last ones.
HILL: I would probably think that we went to greater lengths to come up with something original for the titles and that was the spark that me and Chad talked about originally that really got us excited about getting back in to building rigs to film things. In the past I would say that I didn’t really care about titles so much but we came up with something’s and we wanted to see if they worked. I’m stoked on that, also maybe having some bright colors in there. Just cause it contrasts cool with grainy black and whites and to me, too much of that made it Memory Screen 2009. I don’t really want to do that. I’d rather progress, so to me doing things to where a little bit with the technology and maybe a little bit with the fact that we can get some get some different effects easier now than then because then there weren’t really any computers, earlier on so if you film something it was what it was. Where as here you can get it kind of close and you know that you can tweak it a little in the computer to get a total glow.