The Story of the Heavy Weights

This weekend i went to the Desert to shoot a wedding but this one of one of the most beautiful one i ever shot.. and i would like to share this happy story with you:

On the door of the Korakia, if you look hard enough, you will find a black cardboard circle. A memento of sorts, It is a coaster that jason found at his lowest moment, just over three years ago. Heartbroken and penniless, sitting in Houlihan’s bar in NewYork’s Penn’s station, this cheap coaster was served to him which the moisture from his not-so-cheap mug of beer. The words on the coaster mocked his suffering with their prophetic inscription: “I FEEL AS THOUGH A HEAVY WEIGHT HAS BEEN LIFTED FROM ME.” While most people understood that the “Heavy Weight” merely referred to the weight of the beer resting on the coaster, Jason mistook it for something deeper and altogether profounder: The weight of grief and isolation, the weight of expectations and desperations, the weight of a life as of yet unfulfilled. So moved by this coaster, Jason placed it up on his bedroom wall, as an inspiration that somehow, someday, things will get better. That somehow, someday, that heavy weight might finally be lifted. that someday, he might stand in front of a woman of transcendent grace standing by his side. That somehow someday today would finally be. And little did he know that a the exact same time, a young woman of transcendent grace was struggling to free herself from her own heavy weight. Step by step, Meghan began to lighten her load of past promises broken, of past promises broken, of past dreams undone, of past journeys unfulfilled. And now she and he stand side by side, embarking on a new journey with you today. A Journey fuelled by your powerful support. So the next find yourself in the bowels of despair, or at the least in the bowels of Penn Station, have yourself a cold one on us, and remember our journey as we toast you from a now brighter road, walking together with our now lighter load.

Meghan and Jason

"Wrinkles of the City: LA"

Photos: Shannon Cottrell
My new favorite Street artist JR and his project, something he started back in February that the LA Weekly has mapped for your street art pleasure. The subjects are residents of Sunset Hall, a local assisted living facility "for free-thinking elders."

NOITE DE GALA TRAZ O PRIMEIRO LONGA DO DIRETOR CAIO SÓH, “TEUS OLHOS MEUS”, COM TRILHA SONORA DE MARIA GADU

Photo: Ana Paula Negrão

O 4º Los Angeles Brazilian Film Festival – LABRFF 2011, que acontece de 27 a 30 de abril, em Los Angeles, Califórnia, apresenta em sua Noite de Gala o primeiro longa-metragem do diretor Caio Sóh, “Teus Olhos Meus”, com trilha sonora assinada por Maria Gadu. O filme tem no elenco nomes como Emílio Dantas, Remo Rocha, Paloma Duarte e Roberto Bomtempo. Poeta, autor, diretor, e um dos grandes nomes da nova dramaturgia, Caio Sóh já teve seus textos traduzidos para o alemão e espanhol, com montagens em Berlim e na Cidade do México. 2

Este ano, o LABRFF traz uma campanha voltada para o futuro do cinema brasileiro, com uma seleção de filmes majoritariamente independentes, uma safra de produções realizadas sem apoio de patrocínios ou das leis de incentivo ao audiovisual. “Detectamos uma leva de filmes de diretores, produtores e elencos que têm simplesmente ligado a câmera e entrado em ação. Com belas histórias como a de Teus Olhos Meus, que revela Caio Sóh como um diretor e roteirista sensível da nova geração de realizadores que representa”.

Art in The Streets

APRIL 17–AUGUST 8, 2011 / THE GEFFEN CONTEMPORARY AT MOCA

The Museum of Contemporary Art presents Art in the Streets, the first major U.S. museum exhibition of the history of graffiti and street art. The exhibition will trace the development of graffiti and street art from the 1970s to the global movement it has become today, concentrating on key cities where a unique visual language or attitude has evolved. Following MOCA’s presentation, the exhibition will travel to the Brooklyn Museum, where it will be on view March 30–July 8, 2012.

Art in the Streets will showcase installations by 50 of the most dynamic artists from the graffiti and street art community, including Fab 5 Freddy (New York), Lee Quiñones (New York), Futura (New York), Margaret Kilgallen (San Francisco), Swoon (New York), Shepard Fairey (Los Angeles), Os Gemeos (São Paulo), and JR (Paris). MOCA’s exhibition will emphasize Los Angeles’s role in the evolution of graffiti and street art, with special sections dedicated to cholo graffiti and Dogtown skateboard culture. The exhibition will feature projects by influential local artists such as Craig R. Stecyk III, Chaz Bojórquez, Mister Cartoon, RETNA, SABER, REVOK, and RISK.

A special emphasis will be placed on photographers and filmmakers who documented graffiti and street art culture including Martha Cooper, Henry Chalfant, James Prigoff, Steve Grody, Gusmano Cesaretti, Estevan Oriol, Ed Templeton, Larry Clark, Terry Richardson, and Spike Jonze. A comprehensive timeline illustrated with artwork, photography, video, and ephemera will provide further historical context for the exhibition.

Art in the Streets will feature several shows within the show. There will be a special section dedicated to the Fun Gallery, which connected New York graffiti artists with the downtown art community in the early 1980s. Co-curated by gallery founder Patti Astor, the Fun Gallery installation will feature the work of Keith Haring, Jean-Michel Basquiat, and the graffiti artists who shaped the gallery’s history. A section dedicated to the seminal film Wild Style (1983), co-curated by the film’s director Charlie Ahearn, will document its influence on the global dissemination of graffiti and hip-hop culture. The exhibition will also feature a memorial presentation of Battle Station, a rarely seen work by legendary artist and theorist RAMMELLZEE, and a display of graffiti black books and other historic works from the Martin Wong Collection presented in collaboration with the Museum of the City of New York. A highlight of the exhibition will be a Los Angeles version of Street Market, a re-creation of an urban street complete with overturned trucks by Todd James, Barry McGee, and Steve Powers.

The exhibition will open with a skate ramp designed by pro-skater Lance Mountain and artist Geoff McFetridge. Skate demonstrations by the Nike SB skate team will be held onsite for the duration of the exhibition.

“Art in the Streets will be the first exhibition to position the work of the most influential artists to emerge from street culture in the context of contemporary art history,” said MOCA Director Jeffrey Deitch.

“This quintessentially urban and dynamic partnership between the Brooklyn Museum and MOCA began with the 2005 Brooklyn-organized exhibition of the work of Jean-Michel Basquiat, the consummate American street artist of his generation; continued with the MOCA-organized ©MURAKAMI in 2007, defining critical elements of worldwide street art; and now culminates with a groundbreaking exhibition devoted entirely to street art and graffiti,” said Brooklyn Museum Director Arnold L. Lehman. “The partnership has, in itself, provided a major record of public art over the past half century.”

Art in the Streets is organized by Jeffrey Deitch and associate curators Roger Gastman and Aaron Rose. Gastman is the author of The History of American Graffiti, which will be released in April 2011, and was a consulting producer on the film Exit Through The Gift Shop. Rose curated the exhibition Beautiful Losers and directed the related documentary film. Ethel Seno, editor of Trespass: A History of Uncommissioned Urban Art, is the curatorial coordinator of the exhibition. The Brooklyn Museum’s presentation will be organized by Managing Curator of Exhibitions Sharon Matt Atkins.

ART IN THE STREETS CATALOGUE
A comprehensive catalogue on the history of graffiti and street art published by Skira Rizzoli and edited by Nikki Columbus, former associate editor of Artforum, will accompany the exhibition. The book traces the birth and dissemination of styles through the stories of graffiti writers and street artists all over the world. It features a foreword by Deitch and essays by Carlo McCormick, Greg Tate, and Diedrich Diederichsen. It also features interviews and discussions with influential street artists about wild style, cholo graffiti, and the art that emerged from skate and punk subcultures. Additional contributors include Fab 5 Freddy, KET, Caleb Neelon, Lydia Yee, Kathy Grayson, Cheech Marin, Bill Daniel, and Hiroshi Fujiwara. The book was designed by Conny Purtill, whose previous projects include Barry McGee: The Buddy System and Beautiful Losers.

RELATED EDUCATION AND COMMUNITY OUTREACH
An extensive program of educational and community workshops will complement the exhibition. As part of its exhibition sponsorship and ongoing community collaboration initiative, Levi’s® will host the Levi’s® Film Workshop at MOCA, offering a diverse schedule of programming that celebrates the craft of filmmaking and explores the exhibition’s subject matter. Access to the Levi’s® Film Workshop’s resources is open to all and free of charge.

Special versions of Associate Curator Aaron Rose’s Make Something!! educational project will also be presented at Culver City High School and at The Geffen Contemporary at MOCA in conjunction with Nike SB. Art in the Streets will include a graffiti and street art film festival presented in collaboration with the Cinefamily, and music and dance programs featuring some of the originators of hip-hop and break dancing.

Art in the Streets is made possible by The Eli and Edythe Broad Foundation.

This exhibition is generously supported by the Sydney Irmas Exhibition Endowment.

Major support is provided by Levi’s®. Additional support is provided by Mandy and Cliff Einstein, Nike SB, MOCA Contemporaries, MOCA Partners, and Montana Colors.

In-kind media support is provided by Ovation, Los Angeles magazine, and KCRW 89.9 FM.

Saturday in the Streets is presented by Ovation.

MEMBERS’ OPENING
Saturday, April 16, 7–10pm
The Geffen Contemporary at MOCA

Join us for another legendary opening party at MOCA as we premier Art in the Streets, featuring performances by the stars of the classic hip-hop film, Wild Style—Busy Bee, Cold Crush Brothers with Grandmaster Caz—and the award-winning B-Boy crew from Los Angeles, Killafornia. Cash bar.
INFO 213/621-1794 or membership1@moca.org
FREE for MOCA members, $25 for additional guests

QUINTA EDIÇÃO DA REVISTA OUTRO ESTILO

Mais uma edição da Revista Outro Estilo. Edição de Outono, reafirmando o
projeto editorial, buscando sempre inovar no conteúdo e mantendo a proposta
de ir às bancas (de todo o país) com duas capas.

Uma capa traz os artistas – e também os idealizadores – da Galeria Choque
Cultural, posando para uma foto à la Sgt. Pepper’s. E não é só a capa que é
marcante: uma super entrevista reuniu, pela primeira vez, as três cabeças
por trás da Choque em frente a um gravador. Baixo Ribeiro, Mariana Martins e
Edu Saretta contam a história toda, com direito a uma linha do tempo
destacando os momentos mais importantes dessa trajetória.

Na outra capa, a tatuadora Priscila Miruko, que exibe seus adornos e boa
forma num editorial de lingerie especial. A beleza feminina e a moda ganham
mais um reforço nessa edição, com o ensaio Outono Folk-Grunge da top
norueguesa Hanne Sagstuen.

Fomos até o Rio de Janeiro para conhecer o apartamento e as preferências do
casal Gabriel Thomaz (Autoramas) e Érika Martins (ex-Penélope). De lá
esticamos para Curitiba, para ver de perto tudo que rolou na 11ª edição do
festival Psycho Carnival. E voamos até Los Angeles, pra acompanhar o
brasileiro Roger Marx tatuando as meninas do The Donnas (ou brigando com o
ex-baterista do Guns n’ Roses).

Tem mais? Tem mais sim: o DJ Focka no Top 6, os melhores lançamentos no
mundo dos sneakers, toca-discos estilosos, a fotografia de Jair Bortoleto e
drinks. Além disso, o artista FLIP elege os 5 melhores sanduíches de São
Paulo.

A quinta edição está nas ruas. Como o Outono.

Mayra Dias Gomes Photoshoot for The Brazilian Film Festival Campaign 2011

Avedon was born in New York City to a Jewish-Russian family. He attendedDeWitt Clinton High School in the Bronx, where he worked on the school paper with James Baldwin. After briefly attending Columbia University, he started as a photographer for the Merchant Marines in 1942, taking identification pictures of the crewmen with his Rolleiflex camera given to him by his father as a going-away present. In 1944, he began working as an advertising photographer for a department store, but was quickly discovered by Alexey Brodovitch, the art director for the fashion magazine Harper's Bazaar. Lillian Bassman also promoted Avedon's career at Harper's.

In 1946, Avedon had set up his own studio and began providing images for magazines including Vogue and Life. He soon became the chief photographer for Harper's Bazaar. Avedon did not conform to the standard technique of taking fashion photographs, where models stood emotionless and seemingly indifferent to the camera. Instead, Avedon showed models full of emotion, smiling, laughing, and, many times, in action.

In 1966, Avedon left Harper's Bazaar to work as a staff photographer for Vogue magazine. He proceeded to become the lead photographer of Vogue and photographed most of the covers from 1973 until Anna Wintour became editor in chief in late 1988. Notable among his fashion advertisement photograph series are the recurring assignments for Gianni Versace, starting from the spring/summer campaign 1980. He also photographed the Calvin Klein Jeans campaign featuring a fifteen year old Brooke Shields, as well as directing her in the television commercials. Avedon first worked with Shields in 1974 for a Colgate toothpaste ad. He shot her for Versace, 12 American Vogue covers and Revlon's Most Beautiful Women campaign. In the February 9, 1981 issue ofNewsweek, Avedon said that "Brooke is a lightning rod. She focuses the inarticulate rage people feel about the decline in contemporary morality and destruction of innocence in the world." On working with Avedon, Shields told Interview magazine in May 1992 "When Dick walks into the room, a lot of people are intimidated. But when he works, he's so acutely creative, so sensitive. And he doesn't like it if anyone else is around or speaking. There is a mutual vulnerability, and a moment of fusion when he clicks the shutter. You either get it or you don't".

In addition to his continuing fashion work, Avedon began to branch out and photographed patients of mental hospitals, the Civil Rights Movement in 1963, protesters of the Vietnam War, and later the fall of the Berlin Wall. During this period, Avedon also created two famous sets of portraits of The Beatles. The first, taken in mid to late 1967, became one of the first major rock poster series, and consisted of five striking psychedelic portraits of the group — four heavily solarized individual color portraits (solarisation of prints by his assistant, Gideon Lewin, retouching by Bob Bishop) and a black-and-white group portrait taken with a Rolleiflex camera and a normal Planar lens. The next year he photographed the much more restrained portraits that were included with The Beatles in 1968. Among the many other rock bands photographed by Avedon, in 1973 he shot Electric Light Orchestra with all the members exposing their bellybuttons for recording, On the Third Day.

Avedon was always interested in how portraiture captures the personality and soul of its subject. As his reputation as a photographer became widely known, he brought in many famous faces to his studio and photographed them with a large-format 8x10 view camera. His portraits are easily distinguished by their minimalist style, where the person is looking squarely in the camera, posed in front of a sheer white background. Avedon would at times evoke reactions from his portrait subjects by guiding them into uncomfortable areas of discussion or asking them psychologically probing questions. Through these means he would produce images revealing aspects of his subject's character and personality that were not typically captured by others.

He is also distinguished by his large prints, sometimes measuring over three feet in height. His large-format portrait work of drifters, miners, cowboys and others from the western United States became a best-selling book and traveling exhibit entitled In the American West, and is regarded as an important hallmark in 20th century portrait photography, and by some as Avedon's magnum opus. Commissioned by the Amon Carter Museum in Fort Worth, Texas, it was a six-year project Avedon embarked on in 1979, that produced 125 portraits of people in the American west who caught Avedon's eye.

Avedon was drawn to working people such as miners and oil field workers in their soiled work clothes, unemployed drifters, and teenagers growing up in the West circa 1979-84. When first published and exhibited, In the American West was criticized for showing what some considered to be a disparaging view of America. Avedon was also lauded for treating his subjects with the attention and dignity usually reserved for the politically powerful and celebrities. Laura Wilson served as Avedon's assistant during the creation of In the American West and in 2003 published a photo book documenting the experiences, Avedon at Work, In the American West.

Avedon became the first staff photographer for The New Yorker in 1992.^[6] He has won many awards for his photography, including the International Center of Photography Master of Photography Award in 1993, the Prix Nadar in 1994 for his photobook Evidence, and the Royal Photographic Society 150th Anniversary Medal in 2003.

Avedon had numerous museum exhibitions around the world, including The Metropolitan Museum of Art and the Whitney Museum of Art in New York, and theGuggenheim Museum Bilbao in Spain.