Although devotees of the Olympic games will have to wait until 2021 for the next round of competitions, Donato Sansone channels the same excitement, energy, and displays of strength into an extravagant new mashup. A second iteration of his previous video by the same name, Sansone’s latest motion sequence is comprised of short clips of athletes completing tucks, dives, and pikes. Each bit of footage seamlessly blends into the next, making the competitors appear to be joined in a single, nearly minute-long jump.
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Beginning with a man blowing his lips, an impressive compilation by Donato Sansone merges short clips of car crashes, fiery explosions, and punches thrown during a boxing match into a believable series of consequences. Ranging from nature to sports to destructive events, each seconds-long bit appears to lead right into the next in “Concatenation“—seemingly, a rocket launches straight into a pool ball that then causes a diver to jump into the water. A bullet impales a board, prompting two fiery masses in another section.
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Photographer Todd Antony (previously) documents Bolivia’s best-dressed wrestlers in a new series, Flying Cholitas. The women, who are indigenous Aymara, compete in their sport wearing voluminous petticoats, colorful skirts, and long-sleeved lacy tops rather than in the minimal, form-fitting spandex worn by many athletes around the world.
These ensembles resemble ones that Aymara were expected—sometimes even required—to wear during five centuries of oppression under Spanish occupiers. The wrestlers wear these ensembles to show pride in their history and take back their visibility. Similarly, the identifier “cholita,” originally a derogatory term, has been reclaimed in recent years by indigenous Bolivians as a point of pride.
If you’re curious to see the athletes in action, Luisa Dörr and Michael James Johnson were commissioned by Apple to shoot a short documentary on the flying cholitas, which you can watch below. Aymara architect Freddy Mamani has also championed indigenous Bolivian aesthetics with his buildings, which we’ve covered previously on Colossal.
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Pelle Cass (previously) captures how humans interact with a location or an environment over time, presenting a visual history of the coincidences that occur. Over the last year and a half the Brookline, Massachusetts-based photographer has turned his lens to sports, framing sporting events from fencing to college football in order to create densely packed scenes that combine players from multiple images. During the course of one game or match he might take upwards of 1,000 photographs to provide the content for endless combinations of movements and poses. The final result is a still time-lapse photograph which condenses an hour or so of play into one dynamic image. Cass has a solo exhibition at Camerawork Gallery in Portland, Oregon that runs through May 31, 2019. You can see more of his dynamic series on his website and Instagram. (via Booooooom)
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Starting in 2013, Los Angeles-based conceptual artist Glenn Kaino has had the opportunity to meet and collaborate with a man whose act of protest had long inspired him. “Bridge” is Kaino’s 100-foot long construction featuring two hundred casts of former American track and field runner and Olympic gold medalist Tommie Smith’s arm, which he raised as a human rights salute during the National Anthem after taking gold at the 1968 Summer Olympics. Kaino’s work will be installed as a part of a larger exhibition at the High Museum in Atlanta in fall 2018. We spoke with the artist to learn more about how his collaboration with Smith came to be.
On the podium of the 1968 Summer Olympics in Mexico, African American medalists Tommie Smith and John Carlos went from being top-performing athletes representing the United States to legendary activists with a simple yet powerful gesture. The photograph of Smith and Carlos with their heads lowered and their leather-clad fists raised is one of the most iconic images of the 20th century, and Kaino tells Colossal that it is one that he used to have taped to the side of his iMac.
A friend of Kaino’s noticed the picture and referred to Tommie as “Coach Smith,” revealing that he knew the former athlete from his days as track coach. The friend set up the meeting, and Kaino soon found himself at Coach Smith’s home in Atlanta, watching tape of the race in slow motion as Tommie broke it down almost frame by frame. “I didn’t have a pitch,” Kaino said of the way he finally approached the topic of collaboration with the gold medalist and his wife, “but I did have an observation.” He noticed that Tommie Smith’s home was like a “time bubble,” with memorabilia and references to his career and to his most famous moment. Kaino says that as someone who was born after the salute, the image has always been symbolic, but for the Smiths it was personal. “You shook my hand with that arm, you brush your teeth with that arm,” he said to Tommie.
Through the conversation, Kaino convinced Tommie to collaborate on a project that would remove the icon (the arm) from his body and help him see the salute the way that others do. Back in Los Angeles, after experimenting with what Kaino believes to have been the arm of an Aquaman figure, they got to work casting Smith’s arm and clenched fist. He used the cast to create hundreds of fiberglass arms, which he then painted gold and hung from wires to form, according to the artist’s website, “a golden path leading forward from the present but connected to the past, a spectacular reconciliation of a historic record, an individual memory, and a public symbol all renegotiated in an infrastructure of time to creates stories of the now.”
As for connecting the past and present, it is interesting to consider Kaino’s work and Smith’s salute as it relates to Black athletes today, like Colin Kaepernick, who are criticized for publicly protesting similar issues 50 years later. Kaino tells Colossal that he is working on a documentary to tell Smith’s story that goes deeper than the one image that everyone knows. For those who want to see “Bridge” in person, the exhibition, titled With Drawn Arms: Glenn Kaino and Tommie Smith, opens in Atlanta, Georgia at the High Museum on September 29, 2018. (via Artnet)
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The Dizzying Patterns of Movement at Athletic Events Captured in Composite Photographs by Pelle Cass
Photographer Pelle Cass documents the flurry of activity and movement that occurs at sporting events in a unique series of masterfully edited images titled ‘Crowded Fields.’ The Boston-area artist attends local college games, and takes upward of one thousand photographs over the course of an hour or two. Cass then spends dozens of hours editing the photos to arrive at the final composition.
Although the images are highly manipulated, with over five hundred Photoshop layers involved, Cass notes that each and every figure remains in the original location and position that they were in at the time the photo was taken. His compositional effort is to understand and convey the visual story that unfolded over the course of the sporting event. The artist explains to Colossal, “I scroll up and down, over and over looking for figures I think are interesting. It’s a little like slow-motion Tetris, trying to fit various shapes into various spaces. Then, with luck, a set of coincidences or a kind of gesture or spatial idea begins to emerge.”
Cass, who has been taking photographs for nearly fifty years, developed his current technique over time. The specific idea of using sporting events as his canvas took a decade to evolve. He describes his motivation to create these dizzyingly complex images: “I think that conventional single-exposure photographs distort by their inhuman briefness. The eye never sees a single moment… When you come home from a hockey game, you might remember a few specific images of big plays, but otherwise your memory of a game is a bit more like a general impression of many-figured bustle and activity.”
You can see more of Cass’s photography on his website and Instagram, including his ongoing series ‘Selected People,’ thematically similar composite images of people in public places. Cass also has photographs on display at the New Mexico Museum of Art through October 7, 2018, as part of the exhibition ‘Shifting Light: Photographic Perspectives.’ (via Booooooom)
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Project Backboard began in 2014 when Daniel Peterson, a former college basketball player and employee of the Memphis Grizzlies, noticed the neglected state of several basketball courts scattered around the city. To revive these spaces, Peterson began to refurbish the courts with small improvements—filling in cracks or repainting the basic lines needed for a regulation game.
As Peterson began updating courts across Memphis, his interest widened to include ways he could not only improve his local courts, but generate excitement in surrounding neighborhoods for their public parks. After learning local artist Anthony Lee was already designing an installation for a nearby court, he partnered with the artist to paint the park’s gray asphalt with bright blue and pink designs. The collaboration marked the beginning of Project Backboard, while also inspiring Peterson work with local artists who were already engaged within a chosen community.
“I prefer to work with artists who have a connection to the park or city where we are working,” Peterson told Colossal. “Having the artist on site is very helpful for installation and, especially if it is a city I am not as familiar with, a local artist can create a work with more meaning and context. That said, there are artists I have worked with in the past that I would love to work with again if the right opportunity comes along!”
After reviving several basketball courts in Memphis, Project Backboard has moved on to produce projects in St. Louis and Los Angeles. Currently the organization is working with cities along the East Coast, specifically Baltimore and New Rochelle, New York. To explore other updated courts, and how you might be able to collaborate on an installation in your own city, visit Project Blackboard’s website or Instagram. (via Artsy and the National Endowment for the Arts)
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