Pantheone Obsidian Fascinates With Its Faceted Jewel Design

Aug 1, 2023 By Admin in Design

How many wireless audio designs could you say evoke the works of sculptors Barbara Hepworth or Henry Moore? That was our first impression of Pantheone’s initial offering several years back, a minimalist and abstract wireless speaker designed as a captivating statement of sound. The Australian audio specialists’ smaller Obsidian turns down the volume on the abstract end, but still offers a discernibly distinct faceted jewel-like form delivering a similar proposition, now just at a smaller scale (and price).

The Obsidian’s handmade resin cabinet isn’t quite as uniquely sculpted as its larger predecessor, but the faceted form – drawing inspiration from semi-precious stones – does allow the speaker to influence the output in a variety of directions, conjuring a decently immersive 360-degree experience from a single source point. In our time demoing a unit, the speaker performed optimally when situated within a corner of a bedroom or office, versus a large living room where the Pantheone I powered by its two 130-watt Class-D amplifiers is better suited.

Pantheone Obsidian wireless speaker in white set within an organic modern decor setting on black cabinet with woman's arms reaching to lift it.

A single class D amplifier is tasked within to power 40 watts to the unit’s 5.25-inch woofer, and half that to a pair of 1-inch silk dome tweeters at 20 watts each, with a frequency response of 55Hz – 22kHz.

What’s interesting is Pantheone positioning the Obsidian as a portable speaker. While not prohibitively heavy at about 11 lbs, it’s more likely owners will stake out an optimal permanent spot to use and display the speaker. All for the best. However nice the resin matte finish, it doesn’t make for the most confident grip while carrying the speaker around compared to smaller wireless speakers, requiring a careful cradling.

All-white faceted and pointed Pantheone Obsidian wireless speaker set on white surface with white wall background.

Pantheone positions the Obsidian as a design that draws upon the lofty inspiration of the “architectural masterpiece of the Oculus within the Pantheon dome in Rome.”

White Pantheone Obsidian wireless speaker set in black wall room near mirror revealing the back of the speaker.

The Obsidian is Amazon Alexa ready, allowing for voice command operation.

In wireless mode and unattached from a power source, the Obsidian is good for up to 15-hour playback, supporting connectivity via Wi-Fi, Bluetooth, and AUX sources. Par for the course, the Obsidian is set to work with all of the major streaming services, including Spotify, Amazon Music, Tidal, and Apple Music via AirPlay. Whether tethered to power or in battery mode, the Obsidian sounds impressive.

Pantheone’s semi-precious jewel design is priced at $1,399 and available in black or white at pantheoneaudio.com.

Gregory Han is the Managing Editor of Design Milk. A Los Angeles native with a profound love and curiosity for design, hiking, tide pools, and road trips, a selection of his adventures and musings can be found at gregoryhan.com.

The Port of Bellingham Presents a Promenade of Public Art

Aug 1, 2023 By Admin in Native

In Bellingham, two public entities manage most of the parks, trails, and transit centers: the city government and the Port of Bellingham. The City of Bellingham’s One Percent for the Arts code has ensured the funding of public art all around the city. Although it governs a narrower area, the Port has collaborated with artists to install sculptures, murals, and experimental works along the waterways.

The Port of Bellingham operates Bellingham International Airport and port facilities and marinas along Bellingham Bay, plus port facilities in surrounding towns. With artists’ help, the waterfront continues to develop from its industrial roots into a beautiful destination.

Squalicum Harbor

The Port of Bellingham oversees Squalicum Harbor, a popular site for kite flying, private boating, and resort stays at Bellwether on the Bay. Two historic Port officials, commissioner Pete Zuanich and manager Tom Glenn, inspired the names of local features. Between Zuanich Point Park, Tom Glenn Common, and Squalicum Promenade, the area features much of the Port’s public art.

“Safe Return” was inspired by Eugene Fairbanks’ son John, who wished to pay tribute to fishermen after his friend Greg Schwindt died in the Bering Sea. Photo credit: Anna Diehl

Zuanich Point Park is home to one of Bellingham’s most famous landmarks: a memorial to the city’s fishermen lost at sea. “Safe Return,” the 16-foot, 38,000-pound bronze statue, reads: “In memory of fishers who have gone to sea…in pursuit of their livelihood…never to return.” The red granite base lists the fishers’ names alongside bas relief panels illustrating maritime scenes.

Dr. Eugene Fairbanks created the “Safe Return” monument, which was dedicated on Memorial Day, May 31, 1999. However, the Puget Sound Gillnetters Women’s Auxiliary contributed an earlier wooden plaque memorializing fishermen in 1974. On the park’s renaming in 1995, a large historic anchor joined this plaque. The Port website states, “According to local legend, the anchor got caught in a local fisherman’s nets and, due its weight, substantially damaged both his boat and his fishing equipment,.” It reportedly dates to English vessels from the 1800s.

Jay Gould of Port Townsend allegedly first found Zuanich Point’s anchor in his net and sold it to Tom Glenn for $2,500. Photo credit: Anna Diehl

Squalicum Promenade, the loop around the harbor and Bellwether, displays the Double Thunderbird by master carver Jewell James of Lummi Nation House of Tears Carvers (featured photo). This 2022 story pole depicts three traditional stories in an archway: Salmon and Raven, Bear and Steelhead, and Thunderbird. Plaques underneath the pole explain each of these stories.

Waterfront District

Bellingham’s Waterfront District has been a continuous Port and City project since the historic Georgia-Pacific paper mill closed in 2001. The most recent development is Waypoint Park, dedicated in 2017 on the old mill site. The City of Bellingham has overseen the repurposing of mill equipment such as the “Acid Ball,” which is now an illuminated art installation. The Port has worked with Whatcom Mountain Bike Coalition to install the pump track and with Paper Whale to enhance the area with art.

The Boardmill Building piece was conceived as a temporary mural to renew interest in the building awaiting new uses. Photo credit: Anna Diehl

A mural called “Honoring the Salish Sea” adorns the waterfront’s historic Boardmill Building, a 1946 structure that survives the old paper mill. Paper Whale artists Jason LaClair, Eagle Borsey, Raven Borsey, and Gretchen Leggitt created the mural with Port approval in 2022. Drawing on traditional Coast Salish art, the mural honors the Lummi, Nooksack, Samish, and Semiahmoo peoples. Additionally, it serves to excite the public for the building’s pending redevelopment under the Port.

The Portal Container Village at Waypoint Park repurposes shipping containers with artistic flair. Seasonal businesses such as a bike rental, mini golf course, brewery, eatery, and ice cream stand operate out of shipping containers on the waterfront. In 2021, local artist Sarah Finger created the mural that welcomes visitors through the threshold of community spirit.

Adjacent to these developments, a community of artists also continually paints new murals on the wall dividing Waypoint Park’s playground area and parking lot.

The Portal Container Village is constantly developing with the rest of the waterfront, continually gaining new businesses. Photo credit: Anna Diehl

Beyond Bellingham’s Waterfront

The Port of Bellingham also displays public art at other facilities and parks outside the marinas.

At Bellingham International Airport, the story pole “It’s Mine” depicts two Coast Salish fishermen and a serpent pursuing salmon from opposite sides. Lummi artist Felix Solomon created the pole in 2016, using the serpent to symbolize environmental threats to salmon such as overfishing, overfertilization, and deforestation. Solomon has received national recognition from the National Museum of the Native American Indian in Washington, DC.

Outside of Bellingham, the Port operates Blaine Public Fishing Pier at Blaine Harbor. This area features Blaine Seafarers’ Memorial, the town’s own tribute to fishermen lost at sea. Just adjacent is Blaine Marine Park, which features depictions of orca whales, salmon, and a totem pole.

Just outside Bellingham Cruise Terminal, a series of interpretive signs encircle a sculpture of a seagull. These signs detail the history of the area’s earliest inhabitants, Bellingham Bay, Fairhaven, Pacific American Fisheries, Northwest Shipbuilding Company, Commercial Point Shipyard, and the Schooner Zodiac. Bellingham Cruise Terminal itself is a popular destination for concerts, weddings, and other gatherings.

The Port’s website lists more parks and trails where visitors can further discover educational and artistic gems in and around Bellingham.

Through the lens: Embracing evolution in photography

Aug 1, 2023 By Admin in Photography

Is your photography evolving or stagnating? Often this is a difficult and personal question. But it is one worth discussing, I believe.

Photography is an art form that allows us to capture moments, emotions and stories through a lens. As photographers, we strive to improve our skills and create images that resonate with both ourselves and our audience. However, amid the journey of mastering our craft, we often find ourselves at crossroads, wondering if our photography is evolving or stagnating. Let’s explore the signs of growth and stagnation, the challenges photographers face, and how to perhaps reignite the flame of creativity to keep evolving.

The stagnation paradox

Photography is a constantly evolving medium with technological advancements, trends and shifting creative landscapes. Stagnation can occur without warning, leaving us stuck in a rut of repetitiveness. If you find yourself taking the same shots repeatedly or avoiding experimentation, this may be a sign of stagnation. This can be caused by fear of failure, limited exposure to new ideas or becoming way too comfortable with a particular style or technique.

Signs of evolving photography

Experimentation: Evolving photographers embrace the spirit of experimentation. They eagerly try new techniques, compositions and subject matters to challenge themselves creatively.
Learning and growth: An evolving photographer continuously seeks opportunities to learn, whether through workshops, courses or studying the works of other artists. They are open to constructive criticism and use it as a stepping stone for improvement.
Breaking boundaries: Evolving photographers push the boundaries of their comfort zones. They venture into uncharted territories, allowing their curiosity to drive them toward new possibilities.
Storytelling: An evolving photographer uses their craft to convey emotions, stories and messages. They strive to connect with their audience on a deeper level, leaving a lasting impact with their images.

The challenges of evolution

As with any journey of growth, evolving in photography is not without its challenges.

Self-doubt: The fear of failure and self-doubt can hinder progress. Overcoming these barriers requires resilience and a belief in one’s abilities.
Comparison trap: In the age of social media, it’s easy to fall into the trap of comparing our work to others. Remember, each photographer’s journey is unique, and comparing yourself to others may stifle your creativity.
Time constraints: Life’s demands can limit the time and energy available for photography. It’s essential to find a balance between responsibilities and nurturing your passion.
Creative block: Every artist experiences creative blocks. During these periods, it’s essential to step back, recharge, and seek inspiration from various sources.
Burnout: I believe this really can be true. I was facing this same problem after the worst of the pandemic was over. I worked like crazy and tried to squeeze in as much time as I could. But by the end of last year, I found myself stuck in a rut with a lack of creativity.

Is evolution necessary?

Evolution is a fundamental process that drives growth and adaptation in all aspects of life, including photography. While not perhaps necessary, I honestly believe embracing evolution is essential for personal and artistic development. By continuously seeking new perspectives, experimenting with techniques and learning from experiences, photographers can expand their skills and create more meaningful and impactful work. Evolution allows artists to remain relevant, stay ahead of changing trends, and connect with diverse audiences. It fosters creativity and enables photographers to break free from stagnation, ultimately enriching their artistic journey and leaving a lasting impression through their evolving artistry.

Reigniting the flame of creativity

If you find yourself in a state of stagnation, don’t panic; there are ways to reignite the flame of creativity and push your photography to new heights.

Seek inspiration: Explore the works of photographers from different genres and eras. Draw inspiration from various art forms like painting, literature, or music. Take a class or a workshop, learn something new.
Join a community: Engaging with a photography community, whether online or in-person, can offer invaluable feedback and motivation. Collaborate with fellow artists and participate in challenges to stimulate your creativity.
Set goals: Establish realistic goals for yourself. They could be as simple as photographing a new location, learning a specific technique, or capturing a unique event. Also set a realistic time schedule, once a month or once a week, whatever fits in your budget and schedule.
Embrace failure: Failure is a stepping stone to growth. Don’t be afraid to make mistakes; instead, learn from them and use them as opportunities to improve.
Document personal growth: Keep a visual diary of your photographic journey. Look back at your early work to see how far you’ve come and celebrate your progress.

My personal journey

My own journey has evolved, especially in the last six or seven years. I got my first DSLR in 2014 and had to learn photography all over again. I started capturing portraits for my digital art. Now my photography has taken on its own voice and I find myself making little digital art. I used to work on long and complex series taking months, even years to complete (The Dapper Rabbit, The Tarot), and now I work mostly on a single theme.

I have shared images from some old work to explore where I have come from and look toward where I am now heading. The point is I guess evolving can be difficult, but also a wonderful experience. Don’t be afraid to experiment, try new techniques or indeed occasionally fail. We learn from experience.

Final thoughts

The journey of a photographer is a perpetual evolution, filled with ups and downs, challenges, and rewards. The key to continued growth lies in being open to change, embracing experimentation, and pushing your creative boundaries. Remember every photographer’s path is unique, and it’s essential to focus on your progress rather than comparing yourself to others. With dedication, passion, and a thirst for learning, your photography will undoubtedly continue to evolve, and your artistry will shine through the lens.

Best of the iPhone photography awards 2023

Aug 1, 2023 By Admin in Photography

Giant megalodons and young Lioness fans: Tuesday’s best photos

Aug 1, 2023 By Admin in Photography

Ann Demeulemeester Debuts Her First Furniture Line With Serax

Aug 1, 2023 By Admin in Design

This summer, fellow Belgians Ann Demeulemeester and Serax are debuting their first collaborative furniture collection, Ann Demeulemeester-Serax. The contemporary family is the first furniture designed by the fashion designer, who has worked with the brand on tableware, glassware, cutlery, and lighting collections since 2019. Equal parts sculpture and function, it marks a widening of the creative world she and her longtime partner, Patrick Robyn, have been expanding for decades.

“I make something because I miss it, I want it, and I can’t find it,” says Demeulemeester. The duo often develop pieces that answer their own needs or explore a personal interest, naturally distancing their work from trends. The pieces of luxury furniture within the Ann Demeulemeester-Serax collection looks to both proportion and simple geometries to create a natural dialogue.

There are plenty of distinct design elements to be found within. Long tapered legs in the Éloïs and Cora tables, and origami-like angles in the Malé and Stella tables. The Beth, Ono, and Taka families include day beds, ottomans, sofas, and chairs with low, elongated profiles, deep seats, and cross-braced oak. In contrast, the Elé chair lightly touches the ground with a slender silhouette. Robyn’s expertise with structure is put on display in the twist in the profile of Elé’s legs, transforming from circle to square, and the smart structure for the upholstered back of the Ono sofa. While many of the collection’s pieces feel elevated, simple integrated lighting and textural shifts help to add more depth.

Ann Demeulemeester-Serax collection’s materials include linen, oak, wool, velvet, and canvas, as well as a palette of exclusive textures and colors. Of course, black and white, but also pale pink, moss green, and more.

Now available online, the collection will follow with a retail launch this month. For more information about the Ann Demeulemeester-Serax, visit serax.com.

Kelly Beall is Director of Branded Content at Design Milk. The Pittsburgh-based writer and designer has had a deep love of art and design for as long as she can remember, from Fashion Plates to MoMA and far beyond. When not searching out the visual arts, she’s likely sharing her favorite finds with others. Kelly can also be found tracking down new music, teaching herself to play the ukulele, or on the couch with her three pets – Bebe, Rainey, and Remy. Find her @designcrush on social.

August 2023 Opportunities: Open Calls, Residencies, and Grants for Artists

Aug 1, 2023 By Admin in Art World News

“Universe of Words” by Emmanuelle Moureaux

Every month, Colossal shares a selection of opportunities for artists and designers, including open calls, grants, fellowships, and residencies. If you’d like to list an opportunity here, please get in touch at hello@colossal.art. You can also join our monthly Opportunities Newsletter.

Open Calls

SculptureCenter In Practice 2024 Open Call (International)
In Practice 2024 invites artists who have not yet had an institutional solo exhibition in New York City to submit proposals for solo shows in designated gallery spaces at SculptureCenter. Proposals for off-site projects, publishing initiatives, performances, and nontraditional formats are also accepted. Up to seven applicants will be chosen and receive $6,000 project budgets and $1,000 honorariums.
Deadline: 11:59 p.m. ET on August 6, 2023.

Nest Heritage Craft Prize (Texas)
Applications should represent heritage craft found across Texas, which includes but is not limited to: pottery, enamelwork, quilting, woodworking, leathersmithing, basketry, lampworking and glassblowing, silverwork, embroidery, textile creations, and visual arts.
Deadline: August 21, 2023.

Malta Biennale Open Call (International)
Artists in any stage of their career and working in any medium are invited to apply to exhibit at the 2024 Malta Biennale. Awardees are provided with a stipend of up to €13,000.
Deadline: August 25, 2023.

L+A+N+D: An Experience of Discovery—Bernheim Arboretum and Research Forest (International)
Located just outside of Louisville, Kentucky, Bernheim Arboretum and Research Forest’s new initiative L+A+N+D (Landscape + Art + Nature + Design) invites proposals for immersive outdoor installations. The organization will provide creative outdoor experiences with topics addressing humans’ connection to nature, beauty in the landscape, biodiversity, conservation, sustainability, and climate change, along with a stipend and a construction budget for fabrication and installation expenses.
Deadline: September 4, 2023.

Passepartout Photo Prize (International)
Open to photographers at any stage of their careers, the Passepartout Photo Prize is accepting submissions for its seventh edition. Winners receive exhibition and publication opportunities, with one 500 Euro award. There is a 25 Euro entry fee.
Deadline: October 10, 2023.

Sony Future Filmmaker Awards (International)
The Sony Future Filmmaker Awards elevates voices that bring a fresh perspective to storytelling. The shortlisted filmmakers are flown to Los Angeles for an exclusive four-day event to gain unparalleled insight into all aspects of the filmmaking process to advance their careers.
Deadline: February 15, 2024.

Grants

2024 Joyce Awards (Great Lakes region)
The final 2024 funding cycle for the Joyce Awards is now open to cultural workers and organizations working toward racial equity and economic mobility.
Deadline: September 11, 2023.

$1,800 Innovate Grants for Art + Photo—Summer 2023 Open Call (International)
For its Summer 2023 cycle, Innovate Grant will offer two awards of $1,800 each to one visual artist and one photographer. Six honorable mentions are also featured on the Innovate Grant site. Applications are open to anyone 18 and older from anywhere in the world.
Deadline: 11:59 p.m. PST on September 14, 2023.

Foundwork Artist Prize (International)
The Foundwork Artist Prize is an annual juried grant that recognizes outstanding practices by emerging and mid-career artists working in any media. The 2023 honoree will receive an unrestricted $10,000 grant.
Deadline: September 26, 2023.

The Adolf and Esther Gottlieb Emergency Grant (International)
The Adolph and Esther Gottlieb Emergency Grant program provides one-time interim financial assistance to qualified painters, printmakers, and sculptors whose needs are the result of an unforeseen catastrophic incident and who lack the resources to meet that situation. Awardees typically receive $5,000, up to $15,000.
Deadline: Rolling.

Adobe Creative Residency Community Fund (Ukraine or refugee)
Adobe’s Creative Residency Community Fund commissions visual artists to create company projects on a rolling basis. Awardees will receive between $500 and $5,000.
Deadline: Rolling.

Pollock-Krasner Foundation Grant (International)
The Pollock-Krasner Foundation Grant is open to mid-career professional artists with demonstrable financial need. Awardees receive between $5,000 to $30,000 depending on need and circumstance.
Deadline: Rolling.

Residencies, Fellowships, & More

The Farm Margaret River (International)
Open to all disciplines, individuals, and collectives, this residency focuses on site-specific projects created during eight weeks at The Farm Margaret River in Australia. Chosen applicant(s) will receive lodging, studio space, and a $7,500 grant.
Deadline: August 1, 2023.

Bemis Center for Contemporary Arts Residencies (International)
The Bemis Center has two residencies open, one 18-month program for curators and another for artists. One chosen curator will receive private living and workspace, a $40,750 stipend, a research budget, a curatorial honorarium, and a $750 travel stipend. Artists receive private live and work studios, a $1,250 monthly stipend, and a $750 travel stipend. There are $40 application fees for both programs.
Deadline: August 1, 2023.

Peters Valley School of Craft (International)
Artists working in blacksmithing, ceramics, fibers, fine metals, wood, drawing, painting, collage, or printmaking are eligible for this two-week to one-month program. Residents receive a private room in a shared house, studio access, and stipends ranging from $500 to $1,000. Chosen applicants must have access to a car.
Deadline: August 1, 2023.

First Peoples Fund Artists in Business Fellowship (National)
First Peoples Fund welcomes submissions from artists who are also enrolled members or can provide proof of lineal descendancy of a U.S. or state-recognized tribe, or are an Alaska Native or Native Hawaiian. The program provides technical support, professional training, and working capital needed to pursue arts business development goals. The award is $7,500-$10,000.
Deadline: August 8, 2023.

First Peoples Fund Cultural Capital Fellowship (National)
This fellowship provides grant funding for artists whose practice is centered on cultural heritage and community, furthering the work of passing on ancestral knowledge and cultural practices within tribal communities. This award is between $7,500 and $10,000.
Deadline: August 14, 2023.

Centrum Residency Programs (International)
Centrum has several residencies open for artists, writers, and curators. All are funded, last one to four weeks, and come with honorariums.
Deadline: August 15, 2023.

Corning Museum of Glass BIPOC Residency (International)
The BIPOC (Black, Indigenous, and people of color) Residency allows artists to spend a month at The Corning Museum Studio exploring new directions in glassmaking or expanding on their current bodies of work while using the resources of the world’s leading glass museum.
Deadline: August 31, 2023.

Willapa Bay AiR: 2024 Residencies (International)
These month-long residencies are open to emerging and established artists, filmmakers, writers, playwrights, scholars, singer/songwriters, and musical composers. Each month, six chosen applicants receive lodging, meals, and workspace at no cost. There is a $30 application fee.
Deadline: August 31, 2023.

Bryn Du’s Artist in Residence Program (International)
Artists working in visual arts, literature, music, theater, fashion, dance, storytelling, and audiovisual studies are eligible for this eight or 12-week residency. Stipends range from $2,000 to $3,000, and lodging and studio space are provided. There is a $15 application fee.
Deadline: August 31, 2023.

Kimmel Harding Nelson Center for the Arts Artist Residency (International)
Open to visual artists, composers, and writers, this program offers two to eight-week residencies with private studio space, housing, and a $175 per week stipend.
Deadline: September 1, 2023.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article August 2023 Opportunities: Open Calls, Residencies, and Grants for Artists appeared first on Colossal.

Black Belt Eagle Scout’s latest record inspired by return home to Swinomish tribe’s ancestral lands

Aug 1, 2023 By Admin in Native

CHICAGO (AP) — The beginning of the pandemic was devasting for the leader of the indie rock band Black Belt Eagle Scout, Katherine Paul. All her tours, including one headlining across North America, were canceled and she feared her ascending music career might be over.

She got a day job at a nonprofit and returned to the Swinomish Indian Tribal Community’s homelands in Western Washington. But as Paul, or KP to her friends, spent time in the cedar forests and walked along the Skagit River, she turned to her guitar to deal with the isolation and stress. Those snippets, recorded on her phone, provided the foundation for what would become songs on her powerful, grunge-soaked new record “The Land, The Water, The Sky.”

“I feel like if the pandemic hadn’t happened, I probably wouldn’t have made this record,” said KP, who writes the songs, sings and plays guitar in the band that was the only Native American artist at the Pitchfork Music Festival in Chicago this month.

“I spent a lot of time outside. I spent a lot more time than normal going on hikes, being part of the land,” she continued. “It’s not like I never do that stuff but it brought me back to a place where this is who I am.”

The new record, which came out in February, helped launch what has probably been the most successful year so far for Black Belt Eagle Scout. The band toured Europe and will go to Australia later this year. Two of her songs, “Soft Stud” from an earlier record and “Salmon Stinta” from her latest, appear this season on the television series “Reservation Dogs.”

Reservation Dogs Music Supervisor Tiffany Anders said she was introduced to the band’s music by the show’s creator, Sterlin Harjo, when they started working on the second season.

“It’s always been important for us on this show to include Native American artists, but beyond representation, Black Belt Eagle Scout’s music is beautiful and emotional, and fits these characters, their world and landscape — and the vibe of the show,’” she said in a statement.

Then there was Pitchfork, a three-day festival that is a significant milestone for indie musicians. The festival is held every year in Chicago’s Union Park and this year’s headliners included Bon Iver, Big Thief and The Smile, which has members of Radiohead.

She admitted stepping on that stage last weekend was nerve-wracking given her high hopes for the show, a feeling compounded by concerns that storms could scuttle their performance. But as she launched into the blistering set of mostly new songs in front of thousands of eager fans, KP found solace in her guitar. She launched several long jams that were punctuated by her twirling her jet-black hair around to the point it obscured her face.

“It was totally a moment,” she said with a laugh.

“I kind of cried after we played because it felt so meaningful,” she added. “Like, I’ve always wanted to play this music festival. I remember trying to play one of the years before the pandemic when I was touring and it didn’t happen. This year, I was just so stoked to play.”

Reaching Pitchfork has been a long journey for the 34-year-old artist, who is a member of the Swinomish Indian Tribal Community and left her home on the reservation in LaConner, Washington, when she was 17 to attend Lewis & Clark College in Oregon and play rock music.

Growing up on the reservation off the Washington coast on islands in the Salish Sea, she drummed and sang cultural songs. As a teenager, she discovered local Pacific Northwest bands like Mount Eerie and the sounds of the Riot Grrrl movement and played one of her first gigs at a small bar called Department of Safety. She moved to Portland, Oregon, due to its outsized role in the indie scene that featured bands like Sleater-Kinney and quickly immersed herself in the music scene playing drums and guitar.

She joined an all-female outfit whom she met at the Rock ‘n’ Roll Camp for Girls in Portland. She went on to play a lot of small, basement shows with bands like Genders — whose wolf tattoo she still has on her left arm.

But she wanted to write her own songs and formed Black Belt Eagle Scout in 2013. Her early music was defined by her ethereal singing about love, friendship and healing — often only accompanied by minimal guitar strumming. But she did rock out on songs like “Soft Stud,” which featured searing solos.

“She is a really an authentic musician and she carries a lot of power on stage with her presence and sound,” Claire Glass, who plays guitar in the band and first saw KP seven years ago.

KP has said her Native American identify has always been present on her records. But her latest music paints a more vivid picture of life on the Swinomish reservation. There are references to chinook salmon, which are traditionally fished, and a powwow dance.

“I started thinking of feeling grateful for the life that I have been given; this place that I’m from; how much the land, the water, the sky means to me — being surrounded by it,” KP said of writing the song ”Don’t Give Up.” “It has so much more meaning because the land, that’s where my people are from.”

Her songs aren’t meant to directly confront issues like the crisis of missing and murdered Native American women or tribes’ forced relocation. It’s not the way she writes songs. Instead, she envisions them connecting with people, drawing more Native Americans to indie rock shows in places like Minneapolis, which has a vibrant Native American community, and inspiring young Native Americans to connect with her after shows.

“Isn’t me like being here existing with my music good enough? Can’t I just be who I am?” she asked, adding she doesn’t need to speak out from stage about these issues because being Native often means she is already wrestling with them. A judge, for example, ruled in March that BNSF Railway intentionally violated the terms of an easement agreement with the tribe by running 100-car trains carrying crude oil over the reservation.

“As a Native person, you know someone who is missing. Your tribe is trying to get your land back. Those are topics that are part of your every day life,” she said. ”I care about those things deeply but there are certain ways in which my music is, maybe not as direct, but it can be healing.”

KP also doesn’t want to be seen just as a rock musician or as a Native artist. “I am a musician who happens to be Native, but I am also a Native musician … I think I am always both,” she said.

Her latest record aims to show that.

“I kind of had in the back of mind, just kept thinking what would Built to Spill do,” KP said of the guitar-heavy, indie-rock band from the Pacific Northwest. “I’ve gone on tour with them and seen their three guitars at one point playing together and how they overlap and all these other things.”

It’s also a more collaborative effort with more musicians playing on the record— a departure for KP, who is accustomed to doing everything herself. A cellist who played with Nirvana, Lori Goldston, is featured on several songs, as are two violinists, as well as a saxophone and mellotron player.

Takiaya Reed, a first-time producer who is also in a doom metal band, described the experience of working on the record as “beautiful and amazing” and said the two bonded over their love of punk. Reid also brought her classical training and love of “heavier sounds” to the studio.

“We approached it fearlessly. It was wonderful to be expansive in terms of sonic possibilities,” she said.

KP also wanted to find a place for her parents, whom she had grown especially close to during the pandemic, to play on the record. She chose the song “Spaces,” which she described as having a “healing vibe.” Her dad, who is one of the main singers at the tribe’s cultural events, embraced the idea of lending his powerful powwow chant to the song. Her mom sang harmonies.

KP said: “It meant the world to me to have my parents sing because it felt like it was full circle in who I am.”

The Photographer Who Captured Hip-Hop’s Coming of Age

Aug 1, 2023 By Admin in Photography

Yo-Yo at the DeSalvio Playground in NoLIta, 1996.

Sue Kwon

Sue Kwon didn’t set out to chronicle the evolution of hip-hop. In the late 1980s, Kwon, who had grown up in Connecticut and studied photography at New York University, was living in lower Manhattan. For a while, she wanted to become a war photographer, but the birth of her eldest son, Kainoa, changed that calculus. She also became immersed in the city’s blossoming second-wave hip-hop scene. At the time, New York was teeming with new acts like A Tribe Called Quest, De La Soul, Mobb Deep, and Wu-Tang Clan, with a powerful group of female MCs like Roxanne Shanté and Salt-N-Pepa taking the mic.

Kwon began to document it all, scoring assignments for The Village Voice and The Source. But what she captured wasn’t just the explosive energy of a musical genre finding its footing—it was a culture coming of age.

De La Soul, 1996.

Sue Kwon

pharrell with chad hugo and shay haley of nerd in a virginia beach virginia studio 2001

Pharrell (left) with Chad Hugo (center) and Shay Haley of N.E.R.D in a Virginia Beach, Virginia, studio, 2001.

Sue Kwon

Method Man, 1995.

Sue Kwon

There’s an intimacy and immediacy in Kwon’s images that somehow managed to bottle the creativity, community, camaraderie, and joy that have always been at the center of hip-hop. There are the members of De La Soul crammed into the back of a car. There’s Yo-Yo enjoying a Popsicle on a playground. There’s a young Pharrell, with his turn-of-the-century outfit N.E.R.D, toiling away in a studio, dreaming up new things.

There are eerie moments, like Kwon’s pictures of Biggie Smalls, a.k.a. the Notorious B.I.G., presiding over a listening session for his album Life After Death just 11 days before he was killed in 1997, and lighter ones, like Kwon’s portraits of Method Man, whom she once shot brushing his teeth. There’s also an image of Method’s Wu-Tang-mate Raekwon with Kainoa, who was often by Kwon’s side.

“I would just bring him with his toys,” she says. “Nobody knew hip-hop would become what it is today. I’m just grateful that I was there.”

Arrested Development, 1992.

Sue Kwon

Beastie Boys’ MCA, a.k.a. Adam Yauch, 1992

Sue Kwon

Big Daddy Kane, 1991.

Sue Kwon

Souleymane Dicko, 1985.

Sue Kwon

“I loved the music,” Kwon says. “I would go to DJ seminars and different events for fun. And I always had a camera because I was obsessed with just documenting. I wanted to stop time. I don’t know why. Maybe Freud or some therapist might have something to say about that. But it’s a good thing for me that I did,” she continues. “I just remember always having a backpack with my Rolleiflex and a light meter. We all had our little side hustles, and we were just trying to survive, right? But of course, it was exciting. I mean, I can’t deny that. I was like, ‘I’m listening to their music and loving it, and then I get to shoot and work with them?’ I was excited.”

Brand Nubian on a SoHo rooftop, 1992.

Sue Kwon

Mobb Deep, 1995.

Sue Kwon

dres from black sheep at the apollo, 1991

Dres from Black Sheep (top center) at the Apollo, 1991.

Sue Kwon

N.W.A, 1991.

Sue Kwon

J Maseo, Monie Love, Trugoy the Dove, and Jarobi White of Native Tongues, 1990.

Sue Kwon

“Right after college, I started assisting a fashion photographer. We’d be shooting 10 or 15 rolls of one dress down a beach, and I’d have with three cameras around my neck. And I just remember thinking, ‘This doesn’t matter. Conflict and war—that’s what really matters,’” Kwon says.

“I was always interested in stuff like that. I think it was because of my dad. He was a history buff. We talked about the Vietnam war and the Korean war. I thought documenting war was important because that was something that really could maybe change the world,” she continues.

“Robert Capa, who helped start Magnum [the legendary photo agency], was one of my first influences. And then I did an internship at the Magnum agency for a bit and was able to pour through all their negatives. That’s where I discovered Susan Meiselas, who took also those pictures of the conflict Nicaragua and also became a big influence.”

Yasiin Bey, who previously performed as Mos Def, circa 1999.

Sue Kwon

Busy Bee in NoLIta, 1992.

Sue Kwon

EPMD’s Erick Sermon, 1995.

Sue Kwon

Kool G Rap, 1995.

Sue Kwon

“Downton New York was different. I lived on Mott Street, between Prince and Houston. Def Jam was around the corner on Elizabeth Street. Loud Records, which was Wu-Tang Clan’s label, was on Broadway near The Village Voice,” Kwon says. “I worked at agnes b. in Soho. You would have Rammellzee or Jean-Michel Basquiat coming in, and then they’d converge and hang out across the street in front of a store. You would see all of these different artists or musicians convene. It was a little hub.”

Biggie Smalls, a.k.a. the Notorious B.I.G., 1997.

Sue Kwon

Biggie Smalls, a.k.a. the Notorious B.I.G., 1997.

Sue Kwon

“Biggie was obviously kind of that room. I walked in and ‘Hypnotized’ was blaring and I got goosebumps on my arms because of that song and the hook,” Kwon recalls of photographing the Notorious B.I.G. at Daddy’s House recording studio in midtown. “All these guys are just hanging out and there’s tons of smoke and this champagne and Hennessy. Diddy was dancing around and different people were dancing,” Kwon says. “Biggie had hurt his leg, so he was just sitting at the desk. But I feel like he was just on this throne, this presence. He knew his talent. I mean, he was a baby. He was 24 when he was killed. But he was just so confident at that age.”

Redman and Method Man, 1995.

Sue Kwon

Method Man (center) with fans, 1995.

Sue Kwon

“Method Man was so cool, even back then,” Kwon says. “He knew the power go the camera and how to play to its, but not in an annoying ‘Look at me!’ way. He was so charming, of course, he was not hard to photograph,” she explains. “But he was very open-minded. A lot of people might pause and be like, ‘How does this look for my image?’ whereas he was game for anything.”

Special Ed, circa 1995.

Sue Kwon

Wu-Tang Clan on Yo! MTV Raps, 1997.

Sue Kwon

Mobb Deep in Times Square, 1996.

Sue Kwon

“I admire when photographers can extract things and make the subject do something wild, but I’m just a fly on the wall,” Kwon says. “When I’m just in the moment and absorbing it and trying to get done what I have to do, I’m just looking for cool images or moments. I’m just focused on the camera and shooting and not thinking about the ‘big’ moment. I always love the stuff that’s just when the subjects are not working for the camera and they’re just doing their thing.”

Lil Wayne, 2006.

Sue Kwon

Rick Ross, 2008.

Sue Kwon

Swizz Beatz, 2006.

Sue Kwon

Roxanne Shanté, circa 1998.

Sue Kwon

Eve, 2000.

Sue Kwon

Mobb Deep, year unknown.

Sue Kwon

Naughty By Nature’s DJ Kay Gee, year unknown.

Sue Kwon

Raekwon with Kwon’s son Kainoa, 1995.

Sue Kwon

“There was a lot of male energy. But if you were a woman and you could hold your own, it was fine. I think it took a certain type of personality to exist in that world,” Kwon says. “It’s a very special memory to me to have had my child with me on these shoots. A lot of times, if I photographed artists in the studio, I would just bring him with his toys and he would play. I’m grateful I was able to do that. Nobody was like, ‘Oh, you have your kid.’ It was very natural,” she explains. “At one point, I really wanted to do a project on rappers and their babies. The Source finally let me.”

A version of this story appeared in the August 2023 issue of Harper’s Bazaar.

Award-winning photographs you won’t believe were taken on an iPhone

Aug 1, 2023 By Admin in Photography

By Ailbhe Macmahon For Mailonline

Updated: 07:44 EDT, 1 August 2023

An iPhone is a tool for astounding creativity in the hands of these talented photographers.

Their work has been honoured in the 2023 iPhone Photography Awards, an annual contest that sets out to showcase the most showstopping images captured on Apple devices.

This year the contest, which has been running since 2007, welcomed submissions from photographers from more than 140 countries. For a place in the running, photographs must have been captured on an iPhone or an iPad, and the use of desktop image editing programs such as Photoshop is forbidden.

Reigning supreme overall, this year’s grand prize winner is Mexican photographer Ivan Silva, who captured a magnificent shot of a young football fan on an iPhone 12 Pro. Other shots to gain recognition include a moody picture of Dartmoor National Park in southern England, a vibrant image of a Swiss mountain railway and a mesmerising shot of a trio of elephants marching across an arid landscape.

A statement from the awards’ organisers says: ‘Congratulations to all the winners for the amazing stories they managed to capture with such sensitivity, humour, and beauty.’

Below is a handful of the pictures that captivated the judges. Scroll down to the very bottom to see the photograph that takes the top prize…