Manhattanhenge, a spectacular sunset when the sun aligns with New York City‘s street grid, happens only twice in 2015. The first time will be at 8:12 p.m. on tonight and Saturday –this according to the Hayden Planetarium. On Friday, half the sun will align with the grid. The following day, the full sun will set in the grid. On a clear day, the typical resulting effect of Manhattanhenge is a “radiant glow of light” across the skyscrapers and buildings. The best views of Manhattanhenge are as far east in Manhattan as you can go without losing view of New Jersey. Cross streets like 14th, 23rd, 34th, 42nd and 57th streets are great because they are wide… I’ll be looking at you can be sure to see you Twitter and Instagram feeds full of pics tomorrow.
So, THIS GUY asked for some Photoshop help from the Internet and they obliged and gave him plenty of options, just probably not what was looking for…. but honestly, they are MUCH better than his original request, don’t you think. Which is your fave? The last one is inspired…
(T/Y Casey; via Pleated Jeans)
Step 1: If you have tens of thousands of Instagram followers, you are on your way.
Danielle Bernstein is just 22 and is a “personal style blogger”, who has over a million followers on her Instagram @weworewhat. But she told Harper’s Bazaar, she’s pretty selective when it comes to other Instagrammers:
“It’s super important who I associate myself with in this industry. It’s not that I don’t like other people, but there are some other bloggers that it’s random seeming to associate myself with.”
Right now, Bernstein’s rates, through Next Models, sets her range for the cost one Instagram shot, from $5,000 to $15,000. This rate can go up or down, depending the terms. If a brand wants a long-term commitment or multiple Instagram pictures. Bernstein says, laughing:
“Everything’s negotiable. I’m Jewish.”
Companies pay over $1 billion a year for sponsored Instagram posts in the hopes of profiting off of bloggers’ popularity. The trick is Step 2: Getting companies to notice you and negotiating fees.
Thomas Rankin, the co-founder and CEO of Dash Husdon, an app that allows you to cop your favorite looks on Instagram, says the biggest factor in this business is the number of followers you have. If you have hundreds of thousands of followers, you can bring in $500 to $5,000 a post, but if you have 6 million-plus followers, it’s possible to bring in $20,000 to $100,000 for EACH post.
Step 2 is making it organic and natural, really the only negative feedback he gives if he thinks something looks too posed. Rankin says:
“It’s not an editorial photo. We’re not trying to be in a magazine. We’re trying to create a moment.”
Step 3 is getting connected to something you LOVE, that people will follow and you do consistently. Fashion and beauty are obvious ones but sports, photography, and tech are other solid categories.
But why you are listening to ME…? I’ve clearly got the wrong idea about my own Instagram. I mostly post pictures of art, my dog Lamonte and my house in the country… I need to monetize those things, huh? But the trick is getting followers, right? With 1240, I’d get maybe $1.25 per post. But if you want to see pictures of my dog, follow me and maybe I’ll get to 1250 by tonight. @treynyc
I love the HBO series, Silicon Valley. I have no first-hand knowledge of the tech world, except for what I’ve read but it really seems the shows creators have gotten all of the details just right. The fake software company names and the extreme nerd insider jokes is likely cracking up the REAL Silicon Valley. This last episode found Pied Piper (our protagonist’s compression software company) looking for a “big fish” client. Intercept is the (ficticious) software company that services the mega-bucks porn industry and Pied Piper’s CEO Richard Hendricks crashes an Intercept conference seeking funding. As he listens to the dry, corporate presentation, we cut quickly from the speaker to the various boring business-suited CEO’s listening intently and the names of the various companies on placards had me literally screaming with laughter… there were a few thrown in with non-porn site sounding names, just to be realistic. It all moves really quickly but I had to get these screen-grabs; “Poop on my Wife?” “Porn Hospice?” I died.
The great photographer, Mary Ellen Mark has passed away at the age of 75. She is known for her photojournalistic portraiture and had 16 collections of her work published and has been exhibited at galleries and museums around the world.
Born in suburban Philadelphia, Pennsylvania, Mark began shooting with a Box Brownie camera at the age of nine. She received a BFA in painting and art history and a Masters Degree in photojournalism from the Annenberg School for Communication in 1964. Mark received a Fulbright Scholarship to photograph in Turkey for a year. While there, she also traveled to England, Germany, Greece, Italy, and Spain. In 1967, she moved to New York City, where over the next several years she photographed Vietnam War demonstrations, the women’s liberation movement, transvestite culture, and Times Square, developing a sensibility, according to one writer,
“away from mainstream society and toward its more interesting, often troubled fringes”.
As Mark explained in 1987,
“I’m just interested in people on the edges. I feel an affinity for people who haven’t had the best breaks in society. What I want to do more than anything is acknowledge their existence”.
Mark also became a unit photographer on movie sets, shooting production stills for films including Arthur Penn’s Alice’s Restaurant (1969), Mike Nichols‘ Catch-22 (1970), Carnal Knowledge (1971) and Francis Ford Coppola‘s Apocalypse Now (1979) among her earliest. For Look magazine, she shot Federico Fellini making Satyricon (1969) and has since been on the sets of more than 100 movies, up through through Baz Luhrmann‘s Australia (2008).
Her photography addressed such social issues as homelessness, loneliness, drug addiction, and prostitution. She works primarily in black and white and she has described her approach to her subjects:
“I’ve always felt that children and teenagers are not ‘children,’ they’re small people. I look at them as little people and I either like them or I don’t like them. I also have an obsession with mental illness. And strange people who are outside the borders of society.
I’d rather pull up things from another culture that are universal, that we can all relate to…”
She left a remarkable body of work for us to ponder and appreciate for eons.
New York’s Venus Over Manhattan gallery this month is featuring the exhibit #Rawhide, celebrating the cowboy in art. So, in turn I got inspired to curate my own online exhibition #HeySailor!, here. Today’s the last day of Fleet Week in New York (see Andy Cohen‘s tribute to these 7 days, above) and these visuals tend to skew toward male camaraderie that months at sea must induce. I settled on this show moniker before I discovered there was a book by a similar name. According to Hello Sailor! The Hidden History of Homosexuality at Sea, from 1945 to 1985 British merchant ships were ‘gay heavens.’ Passenger, cargo and Royal Fleet ships were the main workplace where men could be out (and camp). Who knew? My little visual history runs the narrow gamut from vintage pics to Bruce Weber to Tom of Finland – sort of A to B and back again. Happy Memorial Day!
Memorial Day is all about that backyard barbecue, right? Well, this new map from Foursquare and Mapbox charts the food items statistically most unique to each American state. Their unique algorithm sourced menus, tips, and ratings —which represent some 55 million users and 2 million businesses worldwide— to extract the the items most popular in all 50 states and DC (normalizing for population size.) Developers also used the algorithm to determine a percentage that represents
“the affinity for that taste over the national average.”
In a just few cases, states had overlapping tastes but for the most part, the search app’s massive (6-year-old) data is telling story of America’s very specific food tastes.
So, guess where people talk about “avocado toast” at 3,143 % above the national average? New York. (I could have told you that!) But in Tennessee, restaurants and diners mention “banana pudding” at a rate some 318 % higher than the national average. Yes, Pennsylvania likes chicken cheese steaks 1,085 % more than everyone else. The Californians LOVE Chinese Chicken Salad. In Nevada (one imagines, just Vegas) they just want bottle service 842 % more than the rest of us.
This is 1000 % just for fun but you can use it as an excuse to seek out these alleged “conch fritters” and “Brunswick stew” next time you’re in the Florida panhandle. Click map below to enlarge, and for more specifics for state, go here.
After more than 30 years together, Eric Fischl just left Mary Boone Gallery. Ron Warren, a director and partner at the gallery says:
“Eric has wanted to change his working relationship with the gallery. I think he has decided that the art world and the market have changed so much that he wants to concentrate on making his work, and distance himself from being represented by a gallery. We have had a long relationship with Eric, but relationships evolve. Right now, Eric says he wants to concentrate on his work, not be affiliated with a gallery. We respect that and will continue to have a good relationship with him.”
Both Boone and Fischl voiced concerns about the state of the market in a recent article in Interview magazine. The article, written by Fischl, is a conversation between the two about their long working relationship, and the various shifts that have taken place in the art world over the years. Lamenting the lack of vision of today’s collectors, Boone says many collectors…
“often just want a laundry list of the top names”
Fischl agrees, adding that...
“artists are treated more like brand names… There has become this kind of collecting hysteria.”
In the interview, Fischl talked about wanting to work with Boone because he saw her gallery as…
“a nexus for my generation of artists” who shared a “deep belief generationally that art could change society, that it could change culture. So it had an idealism to it. Your gallery had a glow about it of something really new and fresh. It felt like something different was starting to happen.”
The Art Newspaper could not reach Fischl for comment, but as artist Alan Belcher has noted, his recent work shown at Frieze Art Fair this year says volumes. Take a look here. For me, these public statements are NEVER what’s really going on. In reality, how does leaving one gallery change the art world or your place in it? Well, for one thing, if Fischl is not represented by a gallery now, he’s free sell his work directly and potentially profit greatly. Galleries take 50%, as a general rule, but as an artist gets more established, this can be negotiated. Fischl is obviously established, whatever you may think of his work, and he’ll now be free to manage his career and see what that’s like.
(via The Art Newspaper)
The Whitney Museum’s new, location just off the High Line is apparently a great place for controversial and challenging art INSIDE, but not outside. Calvin Tomkins criticized the institution in his latest New Yorker profile on the artist Charles Ray. A sculpture commissioned for the plaza outside the museum was rejected on the grounds that the Meatpacking District’s crowd might find it too naked.
The nine-foot-tall sculpture, called Huck and Jim, was commissioned in 2009. The Whitney is dedicated to American art and this inspired Ray to consider Mark Twain‘s classic novel, The Adventures of Huckleberry Finn. He showed the preliminary designs to director Adam Weinberg and chief curator Donna De Salvo, but the article reveals that the concerns came later, and stemmed from notions that a sculpture of a nude African-American man next to a nude white youth would be too challenging for those who would pass by the public space without understanding the context. This might turn them off from entering the museum. Five years ago, Weinberg reportedly told Ray he would be happy to install the sculpture somewhere else on the museum’s property, but that it couldn’t be placed in the public-facing plaza.
But Ray rejected this relocation;
“I don’t want whatever becomes of it to be less than the original idea, and the original idea was for it to be there. Listen, I’m not naïve to the controversies this would generate—I told them that controversies would be a forest we had to navigate through.”
He continued working on it, and it’s now part of his retrospective at the Art Institute of Chicago. But the disclaimer trend of recent years is implemented on their website saying;
“Some works in this exhibition may not be suitable for younger viewers.”
As Ray told Tomkins,
“I’m over the fact that Huck and Jim is not going to be at the Whitney, and I understand the reasons.”
I understand the reasons too. In the finger-pointing world we live in today, a Tweet can turn into a firestorm, so this rejection was a preemptive strike to not offend tourists. But seeing the crowds and the bustling area now that the museum is open to the public, as much as there might be a bit of controversy, I think it might have been at home in there on the plaza. A nice little plaque with an explanation, and maybe turned with its back to the High Line, and it would have been lost in the shuffle. Twitter might have bitched at first, but Instagram would have LOVED it in the long run.
Spoiler Alert: I think MAYBE it’s safe to talk about the Mad Men series finalé. If you were going to watch, you would have by now. New York magazine’s Matt Zoller Seitz summed it all up beautifully… better than I could…
Mad Men closed with its hero, adman Don Draper (Jon Hamm), sitting lotus-style on a hilltop in 1970, experiencing bliss, or something like it. Don had proclaimed ten years earlier that love was a lie invented by guys like him to sell nylons and that we’re all born alone and die alone, and now here he was in California, shorn of his job, his home, his marriage, his apartment, his car, and even his suit, meditating on a hilltop overlooking the ocean. Our final glimpse of Don was a close-up of his face as he smiled somewhat mysteriously, whereupon series creator Matthew Weiner, who wrote and directed the finale, cut to Coca-Cola’s 1971 musical ad, “I’d Like to Teach the World to Sing.”
That grin plus the Coke commercial added up to the perfect ending for a drama that was consistently hard-edged yet essentially compassionate, and more perceptive about the realities of human behavior than almost any show in TV history. It hinted at renewal and deep change even as the rest of the episode carefully assured us that Don was still Don: that he wasn’t about to execute an about-face and become a selfless and tender mate, a sensitive and responsible co-worker, a doting dad to his soon-to-be-motherless kids, or anything else that smacked of audience pandering. Earlier in the episode, Don had considered going back to New York and fighting Betty for custody of his children, then decided not to — perhaps because, as Betty reminded him in an agonizing phone conversation, he’d never shown much interest in them over the years. Only in simpleminded entertainments do liars transform themselves into completely honest men, commitment-phobes into ideal mates, and bad parents into great ones. The implication of that cut from Don’s smile to the ad was that Don would go on to create that famous Coke ad (an impression confirmed by Weiner a few days later in a conversation at the New York Public Library; he’d warned us that, unlike the Sopranos ending, nobody would have to argue about what happened on a plot level). The cut was funny because this was the same Don who’d confidently told his then-boss Roger Sterling in 1960 that ‘if I leave this place one day, it won’t be for more advertising.’
For the rest of his brilliant recap, go here.
FYI, the real-life person behind the Coke ad WAS a creative director at McCann Ericksonnamed Bill Backer, who was inspired by seeing some formerly irate air travelers communing over Cokes. Backer connected with Billy Davis, a music director for the Coke account, and they and a few other songwriters refined a jingle around the chorus:
“I’d like to buy the world a Coke.”
The visuals didn’t come quite so easily. A shoot in Britain, and another in Rome were aborted because of bad weather. On a then HUGE budget of $250,000, a second shoot in Rome was a success, featuring a lip-syncing chorus of 500! Then came a pop song that capitalized on the popularity of the commercial. And so, if I may, I’d like to buy the world a Coke… enjoy. It’s the real thing.