The new Sports Illustrated Swimsuit Issue is out, and as always does not disappoint with a spectacular arrangement of talented models. I’m going to buy a newsstand copy so I can flip through the mag like when I was an innocent fifth grader looking at all the hot, older women.
See it all here
I’m wondering if he really adds those obnoxious doo-dads to it.
Anyway, The NY Times gave him a glowing write-up yesterday, and Gawker subsequently took a different approach. Both are enjoyable reads.
Whitewall magazine’s Winter issue features Walton Ford in one of the more interesting artist interviews I’ve ever read. Unfortunately, it’s only excerpted on their site. Meaning that you’ll have to buy the magazine to read it all, but let this snippet below entice you to find a distributor:
WW: Is the human in your work?
WF: It’s always there. There are cultural references in every single painting. Almost all the monkeys I’ve painted were peoples’ pets. I’ll have read a story about, say, a famous person — like Sir William Hamilton, the British ambassador to Naples in the 18th century. He had a pet monkey named Jack who died and was mourned like a human being. Jack’s role in Hamilton’s life was that of a sort of out-of-control court jester. He would grab male visitors by the testicles and then smell his hand. Here’s this man [Hamilton] who has to function as a courtier, with impeccable manners and diplomacy — but here’s his monkey, acting out in the wildest possible way. He loved Jack as much as he loved any person in his life. I’m not painting a monkey in nature — he likes to eat bananas or something. I painted Jack on his deathbed, this figure of 18th-century decadence, like he’s a dandy dying of syphilis. There’s a Greek sculpture of a naked boy on the table next to him, there’s a snuffed candle — a symbol of a life cut short — all this romantic imagery around him . . . and then Vesuvius is erupting in the background. I paint him as he was created by William Hamilton. It has nothing to do with the monkey. There isn’t a single painting that isn’t painted from a point of view similar to that, you see. And that’s where it drives me crazy when people think that I’m going to be some sort of person who loves animals, is [into] PETA or something. No, I’m only interested in people! King Kong isn’t a story until the chick shows up.
What I don’t get is that if you’re supposed to be reading this while in the shower, shouldn’t the text be like you know, on the inside?
Anyway, The Thing produces quarterly magic. So take all of that Christmas cash and subscribe for a year.
This American Life producers Ira Glass, Julie Snyder and Lisa Pollak guest-edited a great section in the NY Times Sunday Magazine.
I suggest reading the piece on Mike Destefano here first, because I knew the guy and the story is very touching.
Illustration by Melinda Josie
Time’s Person of the Year. A lot of readable internet stuff here
Cover by Shepard Fairey
The concept and matte cutting are nice.
See more of Eric Elms’ work here
Even those who were ‘down’ don’t get it… “I wouldn’t say that it’s his greatest painting, but it’s not a bad one,” — Kenny Scharf
Oh well, the piece was built on speculation anyways
Rick Ross performed, and everybody was happy and drunk. It’s all about new verticals now. Check out the new Vice.com here.
photos by Christos Katsiaouni