15/02/2012

Ward Shelley: Unreliable Narrator

Ward Shelley: Unreliable Narrator

Ward Shelley likes to make maps. Not of cities, countries or continents, but of cultural trends, literary genres, and social movements. And he likes to fasten his topographical expeditions underneath the skin, within the realm of the body, exploring and tracing his curiosity through the highly intricate human network of arteries, veins, and internal organs. His fascination lies in exploring the existential question posed by David Byrne over thirty years ago, and with the same shrug-of-the-shoulder immediacy: “Well, how did I get here?”

The only difference is that Shelley takes the question a bit more literally, preferring to explore every detail to the most minute edge of his conscious mind. All of which leads us to his current exhibit, Unreliable Narrator, which will be on display from February 17th to March 18th at Pierogi Gallery in Brooklyn—the same gallery that first showcased his live-in installation We Have Mice (where Shelley spent a month living between the walls) and has represented Ward for years. Pierogi first opened its doors in 1994 to painters, sculptors, film and multi-media artists, and has spent much of its time and effort showcasing New York-based underground notables whose work you’ve seen but probably never heard about.


Shelley is equally allusive—he started his life as an artist around the same time period, having his first show in 1990—although no less notable. There’s no reason for him to be “underground”, nor is he “difficult” or hard to get in any sense of the terms. Shelley is, in a nutshell, of the now. He’s quite straightforward, at least as far as history and pop culture are concerned, preferring to obsess over, cut up and document the history of downtown New York, science fiction, and Williamsburg—101 topics for anyone with a fascination with Gotham City.

He is the first to admit his role as an unreliable narrator, having done so nearly a year ago in an interview with Slate, saying “It would be easier to do [my paintings] on a computer than by hand. But the reason I do it by hand is that one of the important ethical points to make here is that, in the end, this is one person’s point of view. It has no real authority.” In that quote he was ramping against (and in support of) the level of criticism he received for his piece The History of Science Fiction that left many ardent followers of the genre—enthusiasts, forum geeks, under-performing fathers—with a lot to say of their own personal taste. To Shelley, that’s the point: We all have opinions; no history or taste can ever be absolute. If his goal was to spark controversy and conversation in regard to the subject in question (in this case, science fiction), then he certainly succeeded.

Unreliable Narrator will provoke similar emotions. As the title suggest, these familiar infographic formations—intestinal charts, diagrams, intricate histories—lay bare Shelley’s acute attention to detail, putting his observations and private fascinations on full public display, for all to scrutinize and obsess over.

Ward Shelley’s Unreliable Narrator at Pierogi Gallery, 177 N. 9th Street, Brooklyn, NY, from February 17 to March 18, 2012 .

Lane Koivu – Images courtesy of Pierogi Gallery & Ward Shelley

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09/02/2012

Guest Interview n° 35: Zefrey Throwell

Guest Interview n° 35: Zefrey Throwell

Last week we introduced you to the brilliant and controversial Zefrey Throwell and his Ocularpation: Wall Street. Today we present Lane Koivu’s interview of the provocative artist and master of this “Freudian nightmare.”

When did you start pursuing art as a way of life?

I was 19. I was mostly into punk rock—loud noisy music. I was in a couple of bands. We weren’t very good. We were very loud though. [Laughs] I had a girlfriend at the time who was a painter. And I remember going over to her garage and she was painting, and I was drunk. And I was giving her shit about what she was painting. I was like, “I could do better than that!” And I remember I picked up an old toilet seat cover that was laying around in her garage, grabbed some of her paint brushes, and started messing around on it. And it was amazing. I totally loved it.

How’d the idea of Ocularpation: Wall Street get cooked up, and why did it happen when it did? I’m interested in why all of these factors came together down on Wall Street, three years after the crash.
The idea came up because my mother was a high school counselor for thirty years—a public servant. She was working hard, putting her money away. She really saved a lot, and then retired. It’s the classic American ideal: work hard, put the money away because nobody is going to take care of you, you take care of yourself, and you’ll be able to enjoy your golden years in Florida, or wherever the hell you want.

So she does this, she follows the law, and was retired for three days when the market crashes and she loses the majority of her life savings. Within a day and a half. It was a massive bleeding. She was stunned at first, then depressed, then really depressed and sad. Not only did she lose all of this money, but she was going to have to come out of retirement. And by this time the place she’d left didn’t want to hire her back, because she’s old, already in her 60s. And other places aren’t looking to hire public counselors in their 60s—they’re looking to hire young people that get paid half as much. So she had a hell of a time getting a job for years. Nobody wanted to hire her, she’d get more and more depressed and would cry over the phone. Which you know, if you’ve ever heard your mother crying over the phone, it’s fucking horrible. Especially when there’s nothing you can do.

So I came up with this project as a way to really re-focus media attention on Wall Street and what was happening down there. It’s hard to imagine now, but before Occupy moved in, and before my performance, no one was talking about Wall Street, right?

Right.
Right. And in fact the week before I did this performance, the NY Times wrote an article called “Wall Street’s Got it’s Swagger Back.” It was all about how bonuses were bigger than ever down on Wall Street—bigger than before the crash—and my mother would see things like this and it would driver her insane, because all of her money was gone. It’d been siphoned into this giant money machine. So it was in the context of this massive inequality that was happening that I came up with the project. I wanted to refocus a lot of attention on Wall Street. And it worked like crazy.

It was the most successful piece you’ve ever done?
As far as media attention, absolutely. I mean, six months later NY1 is interviewing me, you know? It’s going to be on the news in a couple of days. Still! And it happened back in August.

Do you think the Occupy movement would have happened without Ocularpation?
I really can’t say. The interactions I’ve had with people down at Occupy are normal people like you and me. For a large group of strangers in New York—where we tend to talk more about rampant consumerism in our day-to-day lives—to be talking about how they can reshape the government, it’s fucking great.

Tell me about “I’ll Raise You One…” that you did last November at 79 Walker Street.
That was a seven day performance. By contrast, Ocularpation was five minutes. This was seven days and we were in there nine hours a day. We were trying to explore different economic models, but to do it in a way that wasn’t stale and boring. Because when we talk about economics, especially in the US, it’s with techniques that have been used since the 60s or before: sit-ins, massive protests, stuff like that. The formats tend to lose their edge because they’re old. And I’m not interested in that. I’m interested in catching people’s attention in a fresh way. So in that brief window when you actually get someone’s attention you can bring your point home, let it germinate, and then it can take on a life of its own.

Through the shock value of nudity?
Nudity, or through games like strip poker, where people might think, “Oh, I remember playing that as a teenager.” So we set up a table and had different participants rotating each day. We tried out five different economic models. The first one was capitalism—unregulated wealth, free market. People showed up with however many layers they wanted to bring, which is kind of how life is. People have different amounts of money but have to play by the same rules.

Except people don’t get to choose how much money they start out with in real life.
Right, but here people were given simple instructions: Just wear clothes. One guy showed up with like 100 layers on. He had trouble breathing. We had to take some clothes off for him. There was like six inches worth of teachers. And then other people showed up in only a sweater.

You talked about the shock value of using nudity as a means to get people’s attention. Now that you’ve garnered so much publicity for doing these flash projects, are you weary or afraid of being pegged as “the nude artist”?
Yes. It already is very much that people have pigeonholed me. You do something a couple of times—not to mention the fact that I’ve done many, many other projects in the meantime. I’ve made a feature-length movie, I’ve done the Midtown games where we had 100 people running a 250-meter relay race in Times Square, everybody with their clothes on. Because people have already associated me with nudity, they try to peg me as a “naked artist”.

How do you feel about that?
[Laughs] Well I’m definitely not doing any nudity for a while.

What about your new project? Can you talk about that a bit?
It’s called “Entropy Symphony Movement III Los Angeles”. It’s the third part of a continuing symphony I’ve done. And it’s going to be 1,000 car horn symphony in LA played all across the city. Not all bunched together. Some in the south, some in Venice, some in Silver Lake—they’re all over the place. Beeping out a five part symphony. I have big list of all the different horn sounds, and if you have a certain car model you’ll get a certain sound. And from 6pm to 6:05 they’ll get an MP3 with their part on it, and then play along with their horns. Ba bap bap baaa! Unlike most projects, no one can experience this at all until afterwards. It’s what I call “a Fireside Method”, where everyone comes around the campfire and tells the story. And that way it creates the whole.

“The Fireside Method” was also used for Ocuparlation. Everyone had a different take—especially the three people who got arrested.
Sure, those guys in particular. Because inside there are some of the largest criminals that have ever walked the earth. Economic thievery of the kind that we have never seen before. The kind that has crushed worlds. Entire nations have been destroyed by what happens in that building. And then three kids take their clothes off in front of it and get arrested while everyone inside gets off scot-free…

There’s the obvious irony, but you seem to look at it with this hilarious, absurd perspective. Not cheeky, but most of your projects take on heavy subjects with a sense of playfulness, almost an innocent rebelliousness to them. And they walk a find line between authority and rebellion.
Thank you. My favorite artist is Andy Kaufman. That’s who I try to emulate. His most famous thing was probably…wrestling with women, maybe? Maybe lip-syncing Mighty Mouse? [Laughter]

How important is a sense of humor for you?
I try it with everything. If you think of any arty events—museums, galleries, what have you—they’re almost always devoid of humor. And if there’s humor, it’s insular academic humor that’s just so nauseating.

That reminds me of another project of yours, “New York Paints Better Than Me,” which I thought was hilarious. Was that your aim?
[Laughs] I got to this point where I was having a real problem painting. I’d painted for years, and it just really seemed to bottom out on me. It just seemed that the things I was making weren’t very good. And then I was walking around one day and I realized that New York is the most diverse city in the world, filled with enclaves of culture, also must have the most diverse trash in the world. So this trash lying everywhere, that’s the most diverse palette in the world. I couldn’t mix those colors up, you know—these colors don’t run! [Laughs]

But if you look out there it’s all piss, it’s all shit, cigarette ash, slurpee, chicken bones. All over. Human skin dust. Everywhere. So this idea of dragging myself as a way to take a swab sample of the free public parks. I’ve only done two so far, and then I kind of hurt my shoulder, which is slowing me down. It’s a continuing project.

I saw a video of you crawling through Washington Square Park and couldn’t help but imagine what these poor pedestrians were thinking!
Well the public is very savvy. It’s something I forget, something I think people often discount. The public really knows what the fuck is going on. At first a few people will be like, “Hey buddy, get up! What the fuck are you doing!” And then after a second, “Oh, uh oh, this is some kind of art thing! We’re probably on YouTube right now.” But overall it’s pretty hilarious. I had this one guy who had his dog run on me. That was funny. It’s not ok if I’m standing up, but if I’m laying down the dog can run on me.

What’s the suit look like afterwards?
After Union Square it was almost black. Times Square is next, and I think that might be a little dirtier.

How important is that unfiltered public reaction to your work? 

Well I appreciate the idea that art can be more engaging than what museums and galleries have right now. We’re in a gallery in Chelsea—we’re in the heart of the art world; people from all over the world come to see contemporary art right here. Granted, we’re in a smaller gallery now, but across the street is the second largest gallery in the world. They’ve seen maybe 100 people in the last couple of hours. If you do a project in Union Square there’s thousands of people within minutes.

And they’re not part of that world, either.
Right. They’re participating in something. It feels alive to them.

You referenced a John Cage quote that seems to run a fine thread through all of your work: “Comfort is not your friend.” And one of your more recent projects, “Take All of Me, New York,” embodies that completely. Tell me about it.
Yeah, I moved every month for a year. To a different neighborhood in a different borough each month.

What were some of the more interesting places you’ve lived in?
I lived with a prostitute in Hunt’s Point. I lived on a boat in Sheepshead Bay. I lived with an old, old man in deep Queens who was a total shut-in. He goes to Dunkin’ Donuts once a day. I lived with a Chinese family in Chinatown. They barely spoke any English and certainly didn’t give a flying fuck what kind of project I was doing. They just wanted a check.

Have you ever found yourself in danger?
Other than in jail?

It seems like going to jail would be considered a success!
Well, if I’m on point then I’m probably running into the law.

You’re very good at getting people to pay attention. But do you ever worry that these tactics get in the way of whatever it is you’re trying to convey?
I don’t know. As I said before, I think people are very intuitive and really do know what the deal is. Sure, there are some creeps, [especially with the “I’ll Raise You One…” nude poker piece.] But most people are very excited, stop to take pictures, ask what the deal is.

The craziest part was this man named Corey who would hang out everyday. And at first he was kind of a lurker. But a couple days into it he really took ownership in the project and would explain to people who were seeing the show for the first time. If somebody would start tapping on the window he’d step in and say, “None of that, it’s an art project!” Random man on the street claiming ownership. It was great.

Lane Koivu – Image courtesy of Zefrey Throwell

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02/02/2012

Ocularpation: Wall Street

Ocularpation: Wall Street

Inspired as much by the comic genius Andy Kaufman as he is with the philosophies of John Cage, Zefrey Throwell is no stranger to controversy, and has become an expert at getting people to pay attention. Whether through paint, film, or performance pieces, the New York-based artist has spent his career drumming up wildly ambitious projects that deliberately try to turn heads as a means of sparking up conversation. His work has been displayed at MoMA, the Whitney, and Lincoln Center, but he prefers the street to the confines of the gallery.

In the past year he’s “painted” with the garbage-riddled pavement of New York by dressing up in a white jumpsuit and dragging his belly across Union Square; in November he organized and participated in a seven day strip poker game as a means of exploring contrasting economic models, and, in an adventurous project titled “Midtown Games,” had 100 people take part in a 250 meter run through Times Square at morning rush hour. In another, titled “Why Not Take All Of Me New York?”, Throwell lived with complete strangers in a different borough of New Year each month for an entire year. The idea was conceived as an attempt to break his commuting habits—to break free from the constraints of routine—and it worked well. For him, there is nothing more uncomfortable than contentment.

But these days he’s best known for his work in the financial sector. This August, he and 50 volunteers acted out what he calls “a Freudian nightmare” and marched down to Wall Street dressed as businessmen, vendors, street sweepers, and prostitutes, took off their clothes, and proceeded to do their “jobs” for five minutes completely naked. Three people were arrested. Onlookers, many themselves on their way to work, were both amused and baffled. The press, meanwhile, went wild, and the event was covered by major media outlets around the world. The aim of Ocularpation: Wall Street was, in his words, to “bring a sense of transparency to one of the most mysterious streets in the world…and draw attention to the absurdity of the modern economic model.” The performance brought a much-needed media focus back to the financial district, two months before the Occupy movement took over Zuccotti Park and captured the world’s attention.

I spoke with Zefrey at his Ocularpation: Wall Street exhibit, which runs through February 11th at Gasser and Grunert on 19th Street. In addition to video footage from the performance, the exhibition features paintings and generic mass-market objects (phones, coffee cups and Yankee hats, to name a few) uniformly coated in artificial gold spray paint. After Ocularpation, Zefrey will head to California for his next project, Entropy Symphony: Movement III, a 1000 car horn performance that will take place on highways throughout the Los Angeles area during rush hour on February 15th.

Make sure you won’t miss Lane Koivu’s interview of Zefrey Throwell next week.

Lane Koivu – Images courtesy of Zefrey Throwell 

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16/12/2011

Sette Giorni by Manuel Agnelli & Marco Klefisch

Sette Giorni by Manuel Agnelli & Marco Klefisch

Manuel Agnelli (leader of Afterhours) and the illustrator Marco Klefisch are the protagonists of the first book of the series called Caratteri, published by the editorial studio Ready-Made, which will be presented this evening at the Triennale in Milan. The project thought as way to create dialogue among creative people with different backgrounds – Music and visual Arts – starts with a volume came out from two years of informal meetings among the two contemporary artists. Entitled Sette Giorni (Seven days), as the days of the week, it refers to the main time unit of measurement of the human beings’ lives.

This series of books is based on the ambitious idea of combining modern and more traditional printing methods – texts are laid out and printed using digital technology, while the illustrations are produced following to traditional techniques (press, etching, silkscreen, woodcut). Sette Giorni (Seven days) is a unique issue, which creates a connection between the run off Manuel Agnelli’s texts and the more rational and raisonne 7 etchings by Marco Klefisch (one per day). Marco’s work reflects his point of view and interprets Manuel’s thoughts in a non-literal way in a sort of brainstorming, which conveys in a prestigious and totally innovative way of perceiving artist books.

The presentation at the Triennale in Milan (December 16, 8pm) will be accompanied by an installation by Marco Klefisch that recalls the illustration made for the book and a performance by Manuel Agnelli and Xabier Iriondo (vocals and guitar of Afterhours).

Monica Lombardi

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09/12/2011

Signs (Metamorphosis) / Bouke de Vries

Signs (Metamorphosis) / Bouke de Vries

Bouke de Vries had an extended stay in Milan recently while he exhibited in a solo show, Signs (Metamorphsis) at the always on the vanguard Maria Gloria Gallery. De Vries is an artist polymath, his career shifting across mediums and his work always remaining devoid of compromise. His trajectory has taken him from restoration of art to the spotlight of the pop culture art scene, commercial art, jewelry (he released a line in collaboration with Anoushka earlier this year) and on to political activism. His most memorable works are perhaps those which openly criticize chairman Mao Zedong, and . His pieces look like otherworldly pastiches of a hedonistic, ethereal dreamscape, and they showcase flaw to great effect.

“In this flawed world, perfection seems to be an attainable goal… But not-quite-perfection is often easily dismissed and discarded…”

Bouke De Vires Filmed by Matteo Cherubino

For the occasion of his stay, 2DM’s Matteo Cherubino filmed and interviewed the artist among the eerie, surreal backdrop of his recent sculptural work: surreal cross sections and self-contained worlds of a parallel universe. Or a Cherubs. Butteflies. Cigarettes. Dramatically combined with porcelain. In conversation, the artist reveals inner working of the artist’s mind, his depth of perception, and his extraordinary and unbound working process.

De Vries also presented together with Gloria Maria Gallery at this year’s MiArt, showed at Artissima this year, and often exhibits at his home gallery, London’s Vegas Gallery.

Tag Christof – special thanks to Bouke de Vires & Gloria Maria Gallery

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26/10/2011

Carolina Melis Across the Board

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Carolina Melis Across the Board

Over the last few months we have seen some really cool work from the talented Carolina Melis, but don’t expect her to be taking a break from the artistic spotlight anytime soon. The latest feather in the 2DM starlet’s hat is a recent illustration in Vogue Japan. With her art adding just the right amount of oomph to the usually mundane rubrice section, Carolina uniquely reinterprets magazine art direction and page layouts. Aptly she has done so in Vogue Japan; who, ever since its inception has always marched to the beat of its own drum. For a real glimpse of visual joy in true Carolina Melis style a quick glimpse at the Vogue Japan website shows her illustrations in motion.

With illustrations that leave you feeling pure tranquil joy it’s no wonder that Swedish super-brand IKEA has selected illustrations from her for their new batch of post cards. Currently in distribution in Sweden and slowly making its way to IKEA around the world, it wont be long before we have our very own.

From global super brand to fashion power house, all seem to be cashing in on the Carolina magic. The artist sports a cute piece of animation on a website of the Italian fashion mogul Prada. Stepping away from her usual nature themed psychedelic style of animation Carolina shows a side of her art sure to get you hooked on the fragrance it promotes; Prada Candy.

Daniel Franklin

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26/07/2011

Segalega / Zero + Giò Marconi

Segalega / Zero + Giò Marconi

June and July are usually not the best months to see exhibitions in Milan. The artistic season has essentially drawn to a close and, except for some blockbuster institutional events, most of the time, people can only find slack summer shows proposed by art dealers who are planning to leave the city until September.

But Segalega, the unusual group exhibition split between two of the most important galleries in Italy, Gio Marconi and Zero, doesn’t fall within either of these categories.

It seems that the show has been thought to hold the interest of the small ‘community’ of art lovers, who keep on going to visit galleries, in spite of tropical heat of Milan.

The project, running until last week in the two venues contemporaneously, came out under the pretext of overlooking the same street (via Tadino near Porta Venezia) and features some rather remarkable works. The exhibition opened with a weird and amusing performance by Marcello Maloberti untitled Doppietta, in which two people – one black and one white – wearing alpine uniform, crawled side by side from the first gallery to the other one and roamed around the visitors, who were watching the shows.

Among the works presented in both the art spaces, Kerstin Bratsch, the German artist, based in New York, draws the attention with his colourful pieces where subjects give the impression of being trapped between two boards of Plexiglas and make fun of painting. Rosa BarbaRosa Barba’s installation entitled Invisible act, on display at Zero gallery is characterised by the usual elegance through which the Italian artist, who lives in Berlin, is able to create sculptures that seem to be made of light. But a special note goes to the Andrea Kvas (b. 1985), who makes his debut among the already known international artists John Bock, Massimo Grimaldi and Markus Schinwald. Courageously, Zero dedicated one room of the gallery – in a sort of solo show – to the young artist that shows small works on canvas, which privilege the gesture.

With many ups and just a few downs, Segalega gave the opportunity to see a satisfying number of works, which truly spoke about painting, colour stratification, afterthoughts and some interesting effects. It was, happily, a good reason to challenge the hot weather of these past few days and see the show within tomorrow.

Monica Lombardi
  
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21/07/2011

Protein / Animate Everything

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Protein / Animate Everything

Animated GIFs spread like wildfire in the early days of the net. As we away on the blazing fast 56K modem speeds of the day, the junky little motion clips – each containing a series of frames running in running in a continuous loop – stood in for our inability to download real video. They were in every creepy religious chain email your aunt sent, on Myspace pages, and they even dotted the e-porn landscape like devious 1990s kinetoscopes. Then high-speed internet hit, and they mostly faded into the sunset – save their obnoxious flashing banner ad cousins – replaced by high quality images and real video.

But it turns out they have a longer shelf life than just their technical simplicity. They’re somewhere between films and photos, and as such offer a typological bridge between the two. Over the past several years, especially with the advent of Tumblr, designers and all sorts of other people one the web have brought them back, someitmes to pretty spectacular effect. And several artists are even working in the medium (can I really call it that?).

Opening tonight, the endlessly clever UK creative firm Protein has curated the first exhibition of some of the most notable work being done in the format. The time seems right, after all. Artists include Parra, Jiro Bevis, Mimi Leung, Nous Vous Collective, DDF, Will Robson Scott, Tyrone Le Bon, as well as several others.

Opening tonight, 21 July at Protein’s gallery space on 18 Hewett street in Shoreditch, London, just off Curtain Road. Vernissage starts at 7pm, and the show will run until the 15th of August.

Tag Christof – Animated .GIF courtesy Protein

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19/07/2011

Fashion Illustration/Naja Conrad Hansen

Fashion Illustration/Naja Conrad Hansen

Artist, designer and fashion illustrator, 2DM’s Naja Conrad Hansen has been quite the busy bee as of late. Not only was she recently included among the 200 Best illustrators In The World for the third consecutive year by Lürzer’s Archive, Naja’s work has been making waves in commercial and editorial circles the world over for quite some time now. Her uniquely seductive, yet approachable style is steadily making her one of the most sought after illustrators in fashion. And if the growth in her her body of work over the last two months is any indication of her future trajectory, this could not ring any truer…


Recently Indonesian shoe brand EverBest sought some of the artist’s charm for the design of their latest store lunch in Jakarta. Pure, beautiful and spunky as ever, Naja’s art brings this new store in Gandharis City to life. But probably the biggest feather in her cap is the recent illustration she created for Spin magazine. The latest Lady Gaga issue the go-to music magazine released on the iPad features a one of a kind Naja Conrad illustration of the starlet.

From pokerfaced pop powerhouses to absolute darkness, Naja’s art seems to cover it all. Under the tagline “Is It Dark Yet?” Naja is also exploring the haunting depths of the colour black for a collectable poster. The funky poster is now on sale at artypeople.se, the hot Swedish arts portal.


And to top it off, attendees at London Fashion Week got a special slice of the artist as her designs were featured on goodie bags from designer Aza Zanditon and Six Magazine. Now out with her own t-shirt line Meannorth, the artist has sealed the deal, making her one powerhouse of multifaceted creativity.

We’re big fans, Naja. Now, what’s next?

Daniel Franklin 

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15/07/2011

TANK/All New

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TANK/All New

When we saw the amazing work from 2DM`s Bruna Kazinoti 
and Pandora Lennard - Tribe – we couldn`t help dedicating an article to the editorial last week. As an extension of the editorial, we must cite that the Tank team has changed a lot recently. New Art Director Micheal Donkin (coming from British Vogue) brings a breath of fresh air to the magazine. With a host of new talents, pleasant editorials like Croatia based talent Bruna and newly assigned Tank`s Fashion Director Pandora`s `Tribe`may be a more common future.


Since the magazine was first published in 1998, TANK has devoted itself to original and creative interpretations. For this deed, not only collaborating with considerable writers, artists, photographers, stylists and illustrators who all standout, but also with contributors who are independent thinkers which enrich TANK`s identity. The more TANK team discovers new approaches and such new names, the more they will capture the emerging talents.

Before the new art direction, TANK was a largely fashion oriented magazine that was a representation of a typically 90`s style and approach. It seems like Micheal Donkin felt the necessity to close the time gap, making it sophisticated though more reachable, which has turned out to be useful, new way magazine. Keeping the origins, new style in fashion magazine that has a considerable story behind.


Not only uniting the forces with new photographers has created timelessness, but also by the alternative art direction – just to mention the attention paid to fonts and the quality of the paper which is semi-matte – the magazine in general is helping the readers experience an evocative change.


We are curious about what is coming next in TANK who has given the signals that they are going to continue seeking out the most interesting names and subjects, always ELITISM FOR ALL.

Isil Gun 

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