Hasta La Ideas

A free quarterly newspaper on contemporary art

In a world of diminishing print publications and—even more rare—free ones, The Art Street Journal is an inspiring example of how it can still be done. The latest issue, Volume II: Issue IV, features Japanese artist Yoshitomo Nara and at 36 pages is its biggest edition yet since launching in August 2009. Other highlights include a pull-out poster by Slinkachu, a visit to Simon Haas’ studio and a review of John Baldessari’s recent show at the Met.

Helmed by editor Elisa Carmichael, who runs the Carmichael Gallery in Los Angeles with her husband Seth, the full-color newsprint magazine’s most recent number boasts a distribution base of 30,000 copies spread among individual subscribers, museums, galleries, cafes and boutiques in 150 countries.

While some of the artists featured are indeed part of their gallery’s roster, the Journal extends its scope to include artists the founders believe its target audience of art collectors should pay more attention to or consider investing in—some of whom are artists the Carmichaels personally admire.
Each issue’s table of contents lists art show reviews sent in by volunteer writers, plus Q&As with artists, but interestingly the spotlight isn’t just on them. Galleries, auctions and art fairs make up the publication’s coverage too. In its regular section Backstage, The Art Street Journal makes a concerted effort to cover those, as well to provide a more rounded overview of the street and contemporary art world.

Sign up for a free subscription to the quarterly magazine here.

The African diaspora’s style magazine launches its second issue

Following a debut issue that was warmly received in the press and beyond in 2010, Pop’Africana, a publication “dedicated to delivering a rejuvenated image of Africans,” is rolling out its next edition with features on the likes of fashion designer Duro Olowu, chef Marcus Samuelsson and model Nina Keita. The New York City-based art and fashion glossy strives to break clichés that continue to corrupt thinking about the second-most populous continent.

Editorial director Oroma Elewa, who founded in 2008, is working hard to change popular thought cultural vehicle showing the vibrant contemporary side of the diaspora rarely seen or appreciated in the West.

Ikechukwu Onyewuenyi, the magazine’s Nigerian-born communications director (also a recent Cool Hunting contributor), explains it as “our opportunity to share the inclusive vision we have for Africa and Africans wherever they may be,” adding “a vision that we hope will continue to engage and inspire.”

The magazine is currently available in eight cities in five countries. Copies can be pre-ordered online, but only until 20 January 2011 for $15 each.

A book documenting a beer can collection that spans seven decades and 32 countries

Dan Becker and Lance Wilson—two San Francisco, CA-based designers— discovered a real gem when they stumbled upon Becker’s stepdad John Russo’s extensive beer can collection tucked away in his Midwest basement. Hoarding cans since 1975, the collection spans all shapes, styles and sizes of brews from around the world, which thankfully the duo decided to photograph and document in a book that they aptly titled “Beer.”

The document lends some insight into the evolution of beer can design and the changing conversation with the consumer through its 500 images (shaved down from 1,400). Meticulously chosen, the photographs represent beers from 32 countries and you’d be hard-pressed to find any of these brands in the local corner store. Each picture, shot against a white background, includes the company name and the time period, some with more detailed descriptions. The layout—which the authors say very much guided their editing process—allows the reader to truly absorb the details of the cans and appreciate the story each has to tell.

An excellent resource, the book comes in handy for not only the history of beer can design but also as a who’s who of beer distributors. Almost everyone is familiar with powerhouse brewing cities like Milwaukee or countries like Germany, but many don’t realize the extensive amount of brews that were crafted in places like Cincinnati, OH or upstate New York. A timeline shows the evolution of the industry and of the industrial design that went with it. Over the decades the images bear witness to the aesthetic shift in the marketing of alcohol, reflecting a gradual drifting away from simplicity and storytelling.

For anyone who appreciates beer for its delicious, refreshing nature or enjoys gazing fondly at sharp images of tin antiquities, “Beer” sells from Amazon or directly from Chronicle Books.

Color, materials and concepts in a three-artist show

While on first blush the three artists currently showing at San Francisco’s Altman Siegel gallery all appear to have different techniques and themes, the exhibit compares their “meticulous use of materials” and often witty conceptual works. The show includes paintings and mixed-media pieces by Chris Johanson, Matt Keegan and Charley Harper—a trio that collectively spans generations but possess a similar outlook on life’s curious moments and the human condition.

Harper, the most well-established of the three, laid the foundation for many modern graphic designers with his ability to deconstruct a complex image into simple geometric forms—a style he called “minimal realism.” While visually disparate, Keegan’s pared-down approach feels similar to Harper’s, with a no-frills use of text or boldly-emphasized shapes leading his style.

Like Keegan, Johanson’s subjects also tackle societal issues through text, but the Portland, OR-based artist uses a color palette that more closely resembles Harper’s vivid combinations. Alluring hues draw viewers in and, like both other artists in the show, his deliberate choice of materials is evident.

The group show runs through 5 February 2011 at Altman Siegel. See more images in the gallery below.

RCRD LBL’s creative director gives us some insight into the world of music and start-ups

An extensive collection of diverse artists combined with a huge assortment of free and legal downloads, RCRD LBL is the premiere site for discovering emerging artists. We recently had the opportunity to sit down with RCRD LBL’s Creative Director Elliot Aronow, who told us about music distribution, start-ups and the importance of sharing.

How do you describe RCRD LBL?

RCRD LBL is an editorially driven, free and legal music site focusing mostly on emergent talent. If I were talking to my aunt I’d call us a curated, cool, free iTunes.

For artists that are established, do you act more as a distribution platform?

Personally I always believed that the expiration date for records on the Internet was way too short. What we do is plan out our schedule 5-10 days in advance so we are able to offer a robust second wind to a label. The response from our audience has been remarkable, we get about 40,000 people downloading a record that has been “out” on the internet for a few days.

How would you, as the Creative Director, define your market?

I would say our market would be very well intentioned, passionate music fans that want to get put on to good stuff. It’s regular people who are interested in more left-field or independent music—a really refreshing audience to be communicating with. There are college kids and cool dads, and then there are the communities that we’re super meshed in with, DJs, producers, punk guys or Brooklyn and London kids.

Are you targeting your brand at any one group specifically?

My dream from a creative standpoint was to cross the brand over. I always looked at shows like “120 Minutes” and “Yo MTV Raps.” Thats how I got into PIL, Depeche Mode, Nirvana and all that kind of stuff. I knew that because of the level of taste we were always going to resonate with DJs and the music heads, but really for me it was more about breaking things to a more casual listener. That’s what I try to do, that’s why you can juxtapose Waka Flaka Flame with some super weird UK funky guy that’s put out his first 12-inch. You get people with the big hook and hopefully you keep them with the newer stuff that they haven’t heard before.

How has RCRD LBL evolved in relationship to the way people are accessing information?

We started right after the first wave of professional blogging. Initially we wanted to design something people could come check out everyday and there would always be cool new records. In the past couple years things have changed to where we are entering into much more interesting distribution agreements or using platforms that are super commonplace now. Rather than building the mountain and expecting people to come, we have decided that people want to engage with the material in a lot of different ways. They might follow us on Twitter, check in on Facebook, they might get it in their email or check it out via RSS—it’s just important to give people a lot of different ways to interact with the music rather than creating a very static one-dimensional relationship with them.

Is it more valuable to expose the artist to the public or the public to the artist?

It’s important to expose the artist to the public because people that are making compelling music, that know how to tie it together with good-looking album artwork and great live performances, I think they deserve to have a career that goes beyond the Internet. If we’re going to put MNDR in front of people I want them to listen to her record, enjoy it, and then hopefully be inspired to go check out a show or buy a t-shirt.The artist is always the centerpiece.

What are some creative decisions you’ve made to directly broaden RCRD LBL’s appeal?

When we started I was mostly working with groups that I knew, mostly from Brooklyn and a couple from L.A. My logic at the time was that if this band can sell 3,000 CDs then we can give away 40,000 free downloads. But then I realized that once you get out of major cities certain bands are a lot less exposed than you think. One of the decisions I made around two years ago was rather than being in a conversation with blogs, I was more interested in being in a conversation with our users and I think that decision has really paid off for us.

What differentiates RCRD LBL from other music sites?

We have an intentionally narrow focus. We don’t do interviews, we don’t do videos, we don’t do news—we serve up downloads everyday. I think its good for people to know that when they come to RCRD LBL there will a bunch of new stuff. We’re not music critics, I like to think of us more as authoritative, passionate fans. A lot of people like to interact with music from a trusted source, and they want a little “amuse-bouche” if you will. I think that we do something similar where if we are turning you on to a new band we’ll give you what we have decided is the best song, and if you are interested in digging a little bit deeper you can certainly go and do that. There’s always been a really rich history of DJs and journalists and people in the scene putting people on to other stuff, that’s where I’ve always drawn our editorial inspiration from.

Do you think your model has staying power as system for distribution and exposure online?

Well I’m a bit biased but I do think our model certainly has room to grow. Our audience has really pleasantly surprised me in the past few years. I think there are more and more people out there interested in the stuff we are excited about, and I think there is always an opportunity to reach them.

What’s the next step?

Without giving away any of the trade secrets that we keep in a small box under lock and key, I see us being able to offer more kinds of music to people. I think the format of a site that offers you free music with the artist’s and the label’s blessing is a good model. Personally, I would like to see some punk and hardcore in the mix—it’s really just about showing people that we can go from Passion Pit to abrasive, strange music to very beautiful stuff and it all makes sense.

Any advice for start-ups in the new year?

Strive for consistency and don’t take too much money up front because you’ll wind of spending it on bad things before you have any idea what you’re actually doing.