At the recent Fancy Food Show, one of our favorite bites was a little kick from the spicy new Olli Calabrese salamini. Portioned in a small size more commonly found in…
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Le photographe américain Richard Tuschman a adapté les peintures d’Edward Hopper à la photographie. Le respect des compositions et du détail est surprenant : les plis des draps, les mouvements des volutes de fumée qui s’échappent d’une cigarette ou encore la lumière qui se propage dans la pièce reflétant sur les murs.
Operating out of her apartment in Greenpoint, Brooklyn, Kristina Angelozzi is a firm believer in quality over quantity. Sewing since she was a child, she started her own label almost four years ago with the goal of “making sartorially classic, American-style clothing” that’s…
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by Jen Miller Last summer, art director Gabriel Kuo was at a party in Berlin when he noticed a German guy wearing a Patrick Ewing Knicks Jersey. Encountering this celebration of American culture—and one so seemingly…
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“It is American mythology—Westerns are our Greek mythology,” says Joey Grossfield, director, writer and producer of “Lighting In The Hand,” an independent film currently seeking financing on Kickstarter. Taking a turn in a different direction than…
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Eric Hines a réalisé cette vidéo en timelapse baptisé « Cityscape Chicago » à l’aide d’un appareil Canon 5D Mark III entre juillet et octobre 2012. Ce créatif parvient à transmettre sa fascination pour cette ville américaine dans l’Illinois avec une vidéo réussie à découvrir dans la suite.
Bridget Collins est une photographe américaine originaire de Minneapolis dans le Minnesota. Avec des clichés s’amusant à souligner des petits détails étranges et insolites, ses photographies permettent de se plonger dans un monde où les objets dialoguent avec l’environnement. Plus d’images ans la suite.
Photographer Doug Rickard travels the backroads of America on Google Street View
If photographer Doug Rickard had been able to get away from his daily life and go on the great American road trip like he wanted to, he might never have created the subtly powerful, deeply moving and award-winning images in the collection “A New American Picture.” Because he was unable to travel, Rickard sought other ways to see the country. He went online a lot, searching terms that might lead to images of places like Detroit, which to him symbolized “the mythology of the broken down American dream.” A few months after it was created, Rickard discovered Google Street View and, along with it, a higher calling.
He was floored by the fact that he could sit at home and “walk” the streets of any town, anywhere in the country. Rickard spent the next two years scouring Google Street View for images of the unseen America, starting in Detroit, though he soon discovered that there were countless other “Detroits” all over across America. He was stunned by towns like the 400-person town of Amite City, Louisiana, which has changed little since Ben Shahn photographed it more than 70 years ago.
Moving through the streets shot by Google’s Street View cameras, Rickard searched for vivid colors and compositions that have led critics to liken his work to Stephen Shore and William Eggleston. He also kept the idea of Henri Cartier-Bresson’s “decisive moment” in the front of his mind, and recalls the sense of elation when he dropped into Watts in LA one day and discovered a man holding a hose against a stark white wall. Though there have been some grumblings about ownership and intellectual property, those have mostly been quashed by the power of Rickard’s work and his abilities to use—one might even say repurpose—a widespread technology to show us a new way of looking at what’s in front of our very eyes, which is what good photographers strive to do.
A limited edition of “A New American Picture” was published by White Press and Schaden in 2010, and even though it was named best book of 2010 by Photo-Eye Magazine and images were exhibited in the MoMA, it went out of print. Now, however, Aperture is re-releasing the book to a wider audience along with 40 new images.
“A New American Picture” is co-published by Koenig Books, and is available for pre-order on Amazon for $60. An accompanying exhibition will be on view 18 October through 24 November 2012 at Yossi Milo Gallery in New York.
Organic liquor blending tradition and innovation
It’s not a new product, but for the first time Art in The Age of Mechanical Reproduction’s signature liquor, Root, is available outside of creator Steve Grasse’s home state of Pennsylvania. Art in The Age, which hosts a retail store in Philadelphia, is a brand named after Walter Benjamin’s landmark 1936 essay, “Art In The Age Of Mechanical Reproduction,” the themes of which Grasse tried to incorporate into everything he produces, “Emphasizing a pre-industrial ethos, before mass production turned everything crappy”, he says.
As a man who prefers gin martinis or straight whisky over flavored liquors, Root surprised me with its layered, complex flavor. It does make everything taste like root beer, and the fact is if you don’t like sugary things you won’t like Root. It’s sweet—in fact I joke that it is what a 14-year-old would drink to get drunk—but it is also 80 proof, old-timey, and delicious.
Grasse, a principal of the creative agency Quaker City Mercantile, is the creator of Hendrick’s Gin and Sailor Jerry rum. After he sold those brands to William Grant and Sons (they own Glenfiddich and Stoli, and are now partners in Quaker City Mercantile) in 2006, he was looking to challenge himself. “I wanted to come up with something that doesn’t fit into any category and is in the plainest possible bottle. I wanted to purposely handicap myself,” says Grasse.
What he developed was Root. Using American herbs, including anise, birch bark, cloves, spearmint and cardamom, he distilled a certified organic spirit based on root tea, the recipe for which goes back to the 1700s. “I thought it would be interesting to create something that was Authentically American,” he says.
“I read about root tea and how it was a small beer, that’s a beer with low alcohol content,” he says. “Charles Hires was the one who took the alcohol out of root tea and rechristened it ‘root beer’. I was inspired by the root tea story. I decided to make it way more alcoholic, but use those same ingredients.” But the goal was also to create something personal – growing up in Pennsylvania Dutch country, Grasse had always loved root beer. “Spirits tend to have these wild stories of origin based on exotic places. Some of the weirdest, most exotic people I know live in Lancaster county.”
His distributors were skeptical. “They said, ‘No one will buy this. No one will find it in the store. It doesn’t taste like anything out there.’ I told them, ‘People will discover it.’ The fact that it doesn’t taste like anything else will be the story.”
Instead of paying bars and bartenders to push the stuff, Grasse went grassroots. He placed Root at farmer’s markets, where he would lay out the herbs for people to smell, and have samples in which people could dip bread to try it. He sponsored a chili cook-off and worked with the Pennsylvania Historical Society. “I said, ‘I want the fat civil war enthusiast who plows through a bottle of scotch a day to love it. And they will. They’ll take it to their dinner parties and they’ll talk about it’,” says Grasse. He also put all his focus on getting the stuff into liquor stores, not bars. “Usually a brand is launched entirely in the bars, with mixologists,” he says. “The industry is ripe to be fucked with. It’s like payola. They get the bartenders in their pocket.”
His efforts seem to have paid off. Root is spreading throughout the US, and Grasse has since rolled out Snap, a ginger liquor, Rhuby, based on rhubarb, and Spodee, a high-alcohol, herbed wine distributed in milk bottles. For Grasse, a history buff, the joy is in producing something traditional, and American, but also in doing something truly different, and messing with the system.
“How many more vodkas or rye whiskeys can there be on the market?” he asks. “New vodkas have become parodies of themselves.”
Découverte du talent du photographe Daryl Peveto qui a cherché, avec cette série “American Nomads”, à s’approcher de nomades là où la possession d’un domicile fait parti du “rêve américain”. Une série de clichés splendides à découvrir dans la suite de l’article.
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