Last year, Schoolboy Q shared “Man of the Year”, his track that samples the Chromatics song “Cherry” and appears on the NBA Live 14 soundtrack. Now that song has got its own video featuring lots of girls in bikinis running and dancing on the beach and hanging on Schoolboy Q. It was directed by Dave Free.
Schoolboy Q’s new album, #Oxymoron, is out February 25.
The British duo Disclosure have released the music video to their latest single, “Grab Her.” The J Dilla-sampling instrumental dance track acts as the soundtrack to the video, directed by Emile Sornin. The high-gloss clip pictures a bunch of gravity-defying workplace hijinks and wackiness.
TweetCover art by Robert Del Naja aka 3D.
Featuring photography by Nobuyoshi Araki, Mike Brodie, Annemarieke Van Drimmelen, Alice Hawkins, Fred Herzog, Dima Hohlov, Aitken Jolly, Marcelo Krasilcic, Annabel Meehan, Michael Schwartz, Nigel Shafran, Hedi Slimane, Rafael Stahelin, Emma Tempest and Stephen Toner.
Featuring fashion by Jason Hughes, Emilie Kareh, Verity Parker and Sam Ranger.
SOLD OUT
Tweet
Cover art by Kidult.
Featuring photography by Ansel Adams, Mel Bles, Dancian, Benny Horne, Rad Hourani, Qingjun Huang, Hugh Lippe, Aitken Jolly, Harley Kemp, Danielle Levitt, Dan Martensen, Steven Pan, Stephen Toner, Tung Walsh and Tom Wood.
Featuring fashion by Joanne Blades, Michelle Cameron, Catherine Newell-Hanson, Jason Hughes, Hanna Keliefa, Sam Ranger and Kathryn Typaldos.
SOLD OUT
Tweet
Cover art by Futura 2000.
Featuring photography by John Akehurst, Adam Amengual, Cass Bird, Mel Bles, Paul Empson, Benny Horne, Aitken Jolly, Hugh Lippe, Ryan McGinley, Stephen Pan, Alex Prager, Cindy Sherman, and Stephen Toner.
Featuring fashion by Joel Bough, Michelle Cameron, Jason Hughes, Melissa Ventosa Martin, Melissa Rubini and Sam Ranger.
SOLD OUT
Tweet
Lapin’s paintings appear to coalesce from the hazy set of information gathered at the corner of the eye. Her complex, dynamic compositions catalog her interest in the act of seeing and grapple with the process of how a painting comes into being through the viewer’s engagement with it. Whether exploring visual memory or the tension between the inherent properties of paint as material and its ability to depict, her work documents and dramatizes her own sense of flux at the edge of perception. Shapes and landscapes remain on the verge of resolution and legibility in a continual process of emergence, while also rooted to the thingliness of paint.
Various Peep Shows marks a shift for Lapin, whose previous work explored the vocabulary of Romantic and Rococo painting, to a new visual language. Quick, confident brush strokes appear to rest lightly on the surface of the canvas, operating as pure mark making until the slow burn of an image makes its way to the eye. Loose paint-handling and thin washes of color plot out strange architectures through which implausible landscapes peek at the viewer. Layers of imagery, rows of spray-painted lettering, and thick areas of paint seem to float at various layers in relation to each other, creating an odd spatiality.
While window-like vistas allow the eye to escape to deeper horizons, the shallow relief space that parallels the surface of her canvases serves as a stage for a re-enactment of the work’s production; choreographed pours, stains, smears and drips act as both deconstructive and constructive moments, as if paint intended to describe the world of the painting were also peeling up from the image, like an unstable element in a temporary collage. The resulting images appear to be simultaneously frozen in the entropic act of falling apart while they emphatically record the constructive painterly impulse. Ultimately, a poetic emerges out of this dynamic, which for Lapin, speaks to what paintings can and should be.
Opposite – Bi-cyclic and Tri-cyclic Romantics, 2009
Exhibition runs through to February 22nd, 2014
Honor Fraser Gallery
2622 S. La Cienega Boulevard
Los Angeles
California
90034
