No matter the city, there are certain fixtures that are universal among urban settings: corner stores, infrastructure for public transit, pockets of green space, and of course, newsstands, which are the subject of a compelling series by Los Angeles-based photographer Trevor Traynor.
Traynor began capturing the small kiosks back in 2012, when he snapped his first image with his iPhone 4S. During the next seven years, he visited 20 cities around the globe—the list includes New York, Jersey City, Los Angeles, London, Paris, Barcelona, Lima, Cusco, Punta Arenas, Venice, Milan, Rome, Naples, Pozzuoli, Jerusalem, Dar Es Salaam, Tokyo, Kamakura, Cairo, and Marrakesh—and photographed the ubiquitous stands and their operators. Taken from the same angle, the images highlight both the similarities in construction of each space and the periodicals, advertisements, and snacks that vary by location.
Having wrapped up the series with 100 images, Traynor plans to compile all the works in a book slated for release next year. Until then, view the entire series on his site, and follow him on Instagram for updates. (via Present&Correct)
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Interview: Sho Shibuya Discusses Ritual, His Impulse Toward Minimalism, and His Love for Ubiquitous Objects
Since March 2020, artist and designer Sho Shibuya has fostered a ritualistic creative practice of painting the morning sunrise on the cover of The New York Times, a routine he describes in a new interview supported by Colossal Members. The daily project was born out of lockdown and the COVID-19 pandemic, although it’s evolved into a broad body of work that transcends the artist’s original intent for the pieces.
The process of flipping through the newspaper, watching the sunrise, and then painting every morning is quite meditative… But I treat the paintings the same as eating or sleeping; a vital part of my daily routine. It’s a little mission for myself, to capture the sunrise every day as a visual diary.
In this conversation, Shibuya speaks with Colossal managing editor Grace Ebert about the ongoing series and the addition of more sculptural, conceptual works that respond to politics and current events. They discuss his pared-down, measured approach to conveying complex subject matter, the fluctuating relationship between concept and visual, and his fascination with humble, everyday materials.
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Thin, interlaced strips of Japanese paper, gold leaf, and the occasional watercolor detail extend the life of a broadsheet when in the care of French-Canadian artist Myriam Dion (previously). Through slicing, weaving, and gluing, the daily publications find new meaning and relevance as the artist overlays their pages with intricate lace patterns. These precise motifs obscure much of the text, leaving only a prominent headline or single image entirely visible. Painstakingly constructed, Dion’s works question the notion that news is inherently fast-paced and fleeting and instead, offer visual depth, dimension, and intricacy that mirrors the nuance of the stories she highlights.
Using pages from Le Monde, The New York Times, and other organizations, Dion draws on both historical and current events in her most recent pieces. A winding, pleated form responds to the unyielding destruction of the Dixie Fire in California with cuts evocative of flames emerging from its folds. Another accordion-style piece commemorates the late Ruth Bader Ginsberg and her nomination to the U.S. Supreme Court in 1993, with black-and-white photos of the justice trimmed in gold.
“The revaluation of the handmade and the contemporary dimension of the craftsman are intrinsic to my approach,” the Montréal-based artist tells Colossal, likening her process to cultivating flowers or a vegetable patch. “There are many parallels to be drawn between gardens and my practice, especially in regards to contemplation, mediation, temporality, and the idea of beauty.”
Dion’s solo show Material Knowledge, which runs from June 30 to August 13 at Arsenal Contemporary in New York, will include a new work featuring a 1929 article announcing MoMA’s opening paired with references to women textile artists and crafters. She’s also preparing for an exhibition at Blouin-Division that will expand on the gardening metaphor and emerge from vintage botanical books. Until then, follow her latest projects, which will include a few upcoming public works, on Instagram.
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Gradients and Everyday Objects Reinterpret the Day’s Events by Concealing the Cover of The New York Times
Last summer, Sho Shibuya began a visual archive of the day’s sunrise by painting vibrant gradients in their likeness over the cover of The New York Times. The smooth, colorful transitions literally masked the daily headlines, offering a reprieve from the news and establishing a morning ritual that the Brooklyn-based artist, who’s also behind the design studio Placeholder, continues today.
Alongside those subtle sunrises, though, Shibuya also has started interpreting some of the day’s events through mixed-media works that similarly block out the articles. Two bandaids adhere to a peach cover, for example, marking widespread COVID-19 vaccinations. Bands of silver and gold splice another piece, which is also overlaid with a shattered mirror that reflects on Daft Punk breaking up after 28 years. No matter how heavy the topic, each of the pieces, Shibuya says, is intended as a visual aid that inspires hope and optimism. “I want to create peace through my work sharing my sympathy and emotion,” he tells Colossal, explaining:
I believed simple color and shape have power to influence emotions, and emotions influence actions. It is important to get the facts and understand the news, but I think my work is meant to make people feel the impact of the world beyond just facts and figures. It is similar to the way The New York Times printed all 100,000 names of the people who died from COVID; art can be a more impactful way of communicating the significance of the news.
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For Myriam Dion, a newspaper’s narrative qualities go beyond the text on the page. The Montreal-based artist accentuates the daily briefs and profiles in publications like The Wall Street Journal, Financial Times, and Le Monde by overlaying broadsheets with painstakingly cut newsprint. Brilliantly hued flowers veil an issue focused on the wildfires raging across California, while masked subjects appear in the foreground of a piece about the post-COVID economy. Each tableau centers on one narrative, supporting the journalism with intricate motifs and trimmed photographs spread across the unfolded issue.
Masking the text-based print with color and woven sections has been a recent addition to Dion’s practice. “This operation often doubles or triples the working time, but it helps solidify the works (which are already quite fragile) and gives more depth and possibilities to the patterns that I choose and invent,” she writes, noting that weaving thin strips through whole editions visually aligns her works more closely with fiber arts.
More often utilizing vintage copies of North American newspapers than she had previously, the artist has identified a through-line in many of the editions. “For a long time, and even today, the print media has been a forum articulated by and for the male sex, where women have occupied a limited place, and interestingly enough, the newspaper articles I have accumulated document the perception of women in the mass media over the last century,” she says.
Dion will be an artist in residence at the NARS Foundation in Brooklyn in 2021, where she plans to create 8-10 new pieces that merge these historic narratives with traditionally feminine art forms, like lacework and embroidery. The idea is subversive and pays “homage to the female public figures represented in these old newspapers, but more particularly to ordinary women to whom the recognition of any artistic contribution, both from a technical and conceptual point of view, has long been denied by the politics of art.”
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Lisa Törner repurposes the front pages of The New York Times, Wall Street Journal, and the French weekly Le Canard Enchainé into inky canvases for her expressive creatures. For each edition, the Stockholm-based artist offers insightful commentary on the day’s events: a pensive monkey masks an article about bankers on Wall Street, a turquoise peacock adorns the coverage of Karl Lagerfield’s death, and a slinking leopard is rendered alongside a heartwrenching story about a mother and child, who were separated more than 50 years ago. “The panther symbolize(s) the son’s escape from North Korea,” she tells Colossal.
Törner, who is the daughter of Swedish sculptor and illustrator Bernt Törner, grew up in an artistic household and learned to paint at a young age. In her own practice, she sketches the evocative animals directly on the front pages. Her technique includes a combination of blank ink, acrylics, and oil paints to complete the wild creatures.
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