Blog — Page 182 of 283

Hokusai: Beyond the Great Wave

Thames and Hudson

Japan and art is not one but a myriad of chapters for themselves.

One of Japan’s preeminent artists is Hokusai, a maestro that achieved the heights of his oeuvre towards the final years of his life and mainstream pop cultural success and appreciation through what is definitely an iconic and one of the more known creations in the realm of art form the land of the rising sun, i.e. The Great Wave, which he created at towards the end of his career.

What Thames and Hudson’s opulently illustrated homage to Hokusai illustrates is that there was much more genius in and behind the man than his more known emissions would suggest. Zero-ing in on the second half of his life, the tome depicts his ambitious endeavours for innovation, marrying impressionism and art noveau and looking to pushing the envelope while choosing themes for his paintings that resonated with the middleclass of the Edo-era.

His most expressive works are the ones personifying forces of nature. The depth and dimensions he gives seemingly overly explored themes is awe-inspiring, which is amplified when one examines the attention to detail he put into his atmospheric carved wood prints.

Thames and Hudson’s tome on the master is a comprehensive one comprised of an interesting mélange of vibrant depictions of his famous paintings, detailed prints and comparative sketches that document how his works came about and evolved over time, with the main focus being on his 1830 landscape series.

Elaborate essays courtesy of Hokusai scholars help to gain a superb understanding of the subtleties and nuances of his works and the way they are penned should be interested to both aficionados in the know as well an the uninitiated.

Beyond the Great Wave gives an excellent overview of is life, how it informed his art and why to this day he is unrivaled in what this great Japanese artist has created.

Angerot, God Came From Space, Off With Their Heads, Khemmis, Murder City Devils, Carcass

Somerset Amphitheater

Somerset, WI

September 29, 2018

Photo gallery below

Georg Jensen: Scandinavian Design for Living

Art Institute of Chicago

Georg Jensen and his creations are credited with having left an immense imprint on the landscape that defines modern living. This book gives more than a few answers as to the why.

With an idiosyncratic approach and a focus on keeping the balance between form and function, his diverse ranges of both extraordinaire accessories and everyday objects have not only managed to keep pace but also exert influence of the ever shifting culture that defines lifestyles while at the same time managing to embrace a large spectrum of customers, from design aficionados to ones that “just like” what Jensen’s emissions do and how they look.

A maverick that believed in his vision and a torchbearer for Scandinavian design at large that finds homage to him in this book.

The focus is on his silver works but the book also covers his visions for the modern home informed by innovation and the incorporation of a range of different materials – a bit of a counterpoint to the furniture heavy Danish design landscape, which it is usually praised for.

The book also pays tribute to the designers that keep pushing the envelope under the banner of the brand Georg Jensen, e.g. Sigvard Bernadotte and Johan Rohde, who took the DNA of Jensen’s oeuvre, incorporated new methodologies and infused his trademark style with their own flavours. Furthermore his collaborations with other designers, and architects are shed light on, which gives his works another dimension as they incarnate in different, seemingly unrelated contexts.

A lavishly illustrated tome that rests on a solid foundation of elaborate essays that document how a Danish identity was coined in the realm of design – an identity that eventually found its place on the firmament of global culture and became a hallmark in the canon of twenty-first century design.

Thus let us drink cider...

Ah, the ripened extract of pears and apples, which is particularly popular in the United Kingdom and the rest of the Commonwealth, i.e. the ancient libation commonly known as Cider.

There is no shortage of cider varieties: From arid to luscious, sparkling, and opaque with solid residue via brown, amber and clear, the variations are informed by the refining processes between pressing and fermentation.

Local varieties differ in terms of alcohol content and of course the apples that form the foundation of the methods used to create them.

In the land down under that are nowadays at least one hundred and thirty cider producers with more popping up every months. In other words, the taste and market for Apfelwein has grown considerably and the Australian palate has become more sophisticated when it comes to appreciating the wide range of styles that cider comes in. With a growing thirst for true ciders down under, i.e. ones that consist of more goodness than concoction mixed with water and apple concentrate, it is not further wondrous that the yearly Australian Cider Festival, organised by the peak body Cider Australia, is one of the most popular events when it comes to events that celebrate the juice of crushed apples and local cideries.

The 2018 incarnation was a well-curated and expertly organised affair with a range of different ciders on offer along with master classes conducted by industry luminaries and sustenance that was either infused with cider or selected so it would pair well.

Discoveries of the fair were, apart from the never not excellent Willie Smith’s (see feature below), Pomologist Cider from New South Wales Highlands: Made from organically and biodynamically grown heritage apples, their ciders prove to be an excellent pairing with meaty, savoury foods as it compliments the fruit nuances and floral aromas.

Hillbilly Cider’s Vintage was the winner of the day: Double fermented in French oak barrels and reminiscent of its equivalents from the Normandy region, this expression is one to savour and can easily be partaken in instead of a bottle of sparkling wine or champagne with its dry and earth finish.

Sydney Brewery’s Agave Ginger Cider proved to be less of a novelty than the name might initially suggest: Being a tequila aficionado, the medium sweetness is accentuated by a ginger zing, which makes it dangerously more-ish. Along with their Oaked Organic Cider and their Pale Ale, the range that Sydney Brewery had on offer made one plan a visit to their Sydney incarnation to sample what else they have in store.

Change of pace?

Aight.

Enter Tasmania.

Enter Willie Smiths Organic Apple Cider from Huon Valley.

Their basic variant is a 5.4% ABV distinctive cider for craft beer drinkers, taking a page from the book of how ciders were made in the North of France.

An exercise in refreshing as a nuanced acidity is serenades and framed by warm apple flavours and a remarkable tannin structure culminating in an easy cleansing finish. The aroma holds red apple, more than mere hints of oak and fresh citrus, which finds its equivalent on the palate.

This babyh pours a thin wheat gold with a white head, substantiated with a tart apple aroma, oak, mild citrus, and sweet apple notes. The mouth feels spritzy, light bodied, high carbonation, dry tannic finish.

Willie Smith’s Bone Dry Cider, is, as the name suggests, a dry one. What with the first few sips appears to be French in flavour, the Bone dry is based on a style reminiscent of Herfordshire with the main difference being the apples used.

As it is fermented long, sweetness is reduced and the alcohol content being increased due to a second fermentation process in oak barrels which leave their trace on the dark and cloudy final, vigorously sparkling product.

With the nose being predominantly earthy, it is super easy to drink – dangerous at that with the alcohol coming in at 6.8% and a super crisp finish.

Now, Willie Smiths also does limited edition releases.

Unfortunately they are limited.

Case in point, the Willie Smith’s Kingston Black 2017.

Using one of the most converted apples for making single variety cider, and particularly difficult to cultivate  as it is prone to many diseases, the harvest is rewarded with an emission that is high in acid and bitters with enough sugar to give a solid alcohol level.

Now, thing with this complex beauty is that apart from apples, it also gives you nuances of oranges and notes of caramel with a refreshingly crisp finish.

Deliciousness par excellence that makes one wonder what Willie Smiths Sullivans Cove Whisky Aged Cider must be like . . .

Aight - Rekorderlig is an established cider brand from Sweden that produces quality ciders in an array of flavour variations in all colours of the rainbow, all clocking in at a relatively low 4.5% abv alcohol level. While they have always encouraged people to use their emissions as a basis for cocktails, have recently embarked on a new venture, i.e. the introduction of a fresh new range of ready-to-drink bartender quality Cider Cocktails to their repertoire with the aim being to add a twist to their classic offerings.

Based on the DNA of the Swedish summer punch “Bål”, Rekorderlig’s Strawberry-Lime Swedish Punch mixes mint, lime and elderflower with vodka and Strawberry-Lime Cider. What results is a citrusy-sweet fruit punch that does not lack a refreshing taste of summer.

Encouraged by the traditional Daisy Cocktail, made with brandy or whiskey, Rekorderlig’s Mango-Raspberry Daisy infused with Swedish vodka and finished with a citrusy mix of orange and lemon.

Have you heard of “Bramble”? Me neither, but apparently it is a cocktail that was quite popular in the 1980s. While it is fabled that the original was based on a foundation of gin, Rekorderlig’s take on it uses rum and mixes it with their Wild Berries Cider. 

While I can see that readymade cocktails will elicit contorted faces from some hardcore cocktail aficionados, the underlying idea informing Rekorderlig’s approach is the creation of cocktails that can be enjoyed anywhere, from picnics and barbeques to the poolside or beachside – something that has been achieved by them serving it in a sleek, clear 330ml glass bottle.

Check out more of the "Thus, let us drink" series.

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Photos by T

Reigning Men: Fashion in Menswear 1715-2015

Exhibition and Book by Prestel Publishing

Powerhouse Museum

Sydney, Australia

Ah, the Weather Girls.

Their oeuvre and specifically their song “Reigning Men” has left its imprint on popular culture and in this case the fashion industry as it inspired Sharon Takeda to modify the title of said song to fit the exhibition of a spanning three hundred years of menswear based on a thousand piece acquisition at the Los Angeles County Museum of Art in 2008, which was purchased by the museum from the European collectors and dealers Martin Kamer and Wolfgang Ruf.

Reigning Men: Fashion in Menswear, 1715-2015 became the world's largest exhibition of men's clothing staged to date, running the gamut from outfits worn by aristocrats, dandies, macaronis, mods, punks, metrosexuals and everything in between.

The exhibition finally found its way down under following its debut in Los Angeles in 2016, where it is currently on display to coincide with a worldwide renaissance of menswear.

The exhibition is organised thematically, which has the advantage over a chronological arrangement that individual pieces can be show next to each other in juxtaposition to compare and contrast the past and the present along with the evolution in between.

Needless to say that no matter if you are an initiated fashion aficionado or not, it proves to be difficult not to be intrigued by the discovery of how what eventually became the norm in the 21st has evolved to the current state and the connection between seemingly unrelated cultures and how they have influenced each other that are expertly pointed out, think East / West or Military / Leisure wear.

The exhibition was carefully curated by the Powerhouse’s senior curator Roger Leong who accomplished a to create an eclectic cross section of very different ways of dressing away from what the mainstream perceives to be the norm.

The attention to details does not stop with the menswear but extends to the accessories and hairstyles of the mannequins giving the exponates another dimension and adding historical significance.

Prestel Publishing’s book is not unlike the one on Anton Corbjn an opulently illustrated essential accompaniment and extension of the exhibition, documenting three hundred years of men’s fashion. Following the curatorial path that forms the foundation of the exhibition, it traces and captures the essence of different eras and helps in develop a new sense of appreciation for fashion no matter if you are into tailored garments from Savile Row, Zoot suits or the subversive designs of Vivienne Westwood and Rei Kawakubo.

A feast for the eyes that goes beyond mere fashion as it documents cultural interactions and developments.