It was to be a “disco trip” to Hong Kong. The year was 1982, and 54-year-old pop artist and international art star Andy Warhol was visiting China for the first time. Invited over to Hong Kong by a young industrialist, he brought along a small entourage, including photographer Christopher Makos, who documented Warhol’s journey to Beijing, Tianamen Square, and the Great Wall. Though rarely seen—unless you have a copy of Makos’s book—the photos are currently exhibiting in Shanghai.
Katrin Rodegast is redefining the worlds of graphic design and illustration. The recent university graduate and former assistant to equally talented tactile artist Sarah Illenberger (she of the wooden hamburgers), has already won numerous design awards thanks to her clever usage of paper as an artistically transformative tool. With an impressive client list that boasts everyone from The New York Times and GQ magazine to Mercedes Benz and Herman Miller, Rodegast’s work stands out for its irreverent take on simple subject matter.
It’s interesting to note that in our current online-based climate—with magazines and newspapers ceding to the web—printed zines seem to be on the rise. As much an enduring act of creation as a symbol of revolt, the zine remains a tactile response to our ever-growing culture of content. Synonym is one such journal. And though it functions as a bi-annual design and culture magazine, it is born out of a desire to marry both the worlds of web and print under the boundaries of a given theme.
Upon seeing the word swine, one might conjure the image of a pig or boar. But such is not the case with Studio Swine, a London and São Paulo based design studio who use the word to spell out their company’s ethos: Super Wide Interdisciplinary New Exploration. A collaboration between Azusa Murakami and Alexander Groves, the company explores design through innovation to create everything from luxury pieces crafted from waste materials to small offices that maximize space—all built using recycled materials.
Artist and creative director Brock Davis has a charming sense of humor when it comes to his personal work. Though we’re already fans of his affinity for food—like the “Emo Pineapple” wallpaper art he shared earlier this year—as well as his editorial and advertising work, which includes everyone from the New York Times and Wired to Harley-Davidson and Jack Links beef jerky, he also makes time for work that captivates his imagination. And, often, his subjects are food items taken to a whole new level.