A duratran image from Marcus Tomlinson’s current Paris show, Form
Photographer and filmmaker Marcus Tomlinson’s latest exhibition is currently running at the Galerie Patricia Dorfmann in Paris. Form features a series of duratran images and also a film that Tomlinson worked on with London-based studio, Glassworks, which is made up of some 3,500 still pictures.
The battle for District 8 in Saigon in May 1968 produced many civilian casualties. This woman hit by helicopter rocket fire was helped by a nervous South Vietnamese soldier.
We learned with great sadness over the weekend of the death of the pioneering Magnum photojournalist Philip Jones Griffiths (read The Guardian’s obituary here
Jones Griffiths’ searing portraits of the carnage and misery of the Vietnam war helped turn public opinion against military action. Last year we reported on a lecture given by Jones Griffiths in which he drew parallels with the present conflict in Iraq and urged today’s photojournalists to bear witness to what he termed ‘the American Empire on the rampage”. You can read that report in full here
Cadbury’s Creme Egg ad, agency: Publicis London, director: Chris Cairns, production company: Partizan
Here’s a bumper Easter-style crop of great new advertising work that we’ve been sent at Creative Review recently, starting with a new Creme Egg spot from Chris Cairns at Partizan for Publicis London. The spot acts as a finale for Cairns’ recent series of ads for the super-sweet chocolate snack, which saw the eggs dramatically strip themselves of their foil before gleefully committing suicide in a variety of inventive ways. In this one, we find a crowd of eggs participating in a cult-like mass goo-icide, to hilarious effect.
If you find yourself in the Brick Lane area of London some time before March 23, light artist Chris Levine’s spectacular Stolenspace show is well worth a visit. Her Maj has never looked funkier.
Barrett Lyon’s map of the internet from 2003, The Opte Project
MoMA’S Design and the Elastic Mind show reveals design’s role in mapping the digital frontiers of today’s world. By HUGH ALDERSEY-WILLIAMS
Throughout the 17th and 18th centuries, explorers would return from their voyages describing new places and new wonders they had seen. Each time, cartographers would publish what was routinely termed ‘a new map of the world‘. We tend to think the job is done today. But new maps of the world are appearing faster than ever – and they look like nothing ever seen before.
The new maps are often not geographic but informatic, describing regions that lie one way or another beyond the visual. When human experience becomes too complex to hold in the memory, we strive to create memorable images of that experience. It is thought that musical notation was devised at just the point when people had created more music than could be simply remembered. Likewise, maps were not important until people’s horizons expanded beyond their locality. It’s the same now, except that our need is to picture vast banks of data, information flows, and regions of space beyond the scale of human imagining.
After over 300 entries and 20,000 votes, Hans van Brooklyn’s Ants (above) has been chosen as the UK cover for Crowdsourcing in the Coversourcing competition.
Here’s what the judges thought…
Moses Parting the Red Sea, from God’s Eye View, a series of scenes from the Bible re-imagined via Google Earth. All works by The Glue Society, unless otherwise stated
The Glue Society, the company behind God’s Eye View, a series of images that re-imagine key scenes from the Bible as if captured on Google Earth (which caused something of a stir on the CR blog at the end of last year) was ten years old last month. This is their story.
Over a 25 year period, Russian filmmaker Andrei Tarkovsky made just seven feature films and three student shorts, yet his cinematic work stands out as one of the most significant contributions to moving image history. In films such as Solaris, Mirror and Andrei Rublev, Tarkovsky dealt thematically with the notion of memory, childhood and dreams and became a master of the long, unedited shot and distinct formalistic approach to filmmaking. Many studies of his work have also observed the links between his films and the visual arts. Black Dog Publishing is behind a new, comprehensive volume dedicated to his life’s work and we have an exclusive extract to present here on the CR blog. The following essay, by Mikhail Romadin (the art director on Solaris), looks at the relationship between Tarkovsky’s films and painting.
New from AKQA and director Dom Bridges is this excellent spoof of the most expensive ad ever created – Guinness’ Tipping Point. In the remake, lighters, fags, phones, cones, wheelie bins and fridges all contribute to the domino rally, resulting in, no, not a pint of the black stuff, but a warming Pot Noodle. While the action has moved from rural Argentina to two housing estates in Kilburn and Gospel Oak, north London, the self-satisfaction (and no doubt, budget) of the original has also been well and truly left behind. And yes, as with all the cast, the dialogue at the end is that of a “real” person, not an actor. Oh dear Matthew…
Spotted this ad on the telly-box last night. The Sugar Puffs Honey Monster is back and stars in a new ad (created by agency Bray Leino) – in which he is seen making up a whacky rhyme (about eating Sugar Puffs) with some actor who seems to be in every other TV ad at the moment…
Tomer Hanuka’s jacket illustration for the Penguin Classics Deluxe version of Philosophy In The Boudoir by the Marquis de Sade
The category winners of the Design Museum’s Brit Insurance Design Awards have been announced with Penguin’s US Classics Deluxe editions winning in the graphics category and Haque’s Burble London installation taking the interactive prize
A visualisation of a complex mathematical theory or the new marque for a German mobile phone network?
At last the truth can be told. All those weird 3D swirly logos that you see everywhere right now? Creative Review has traced them back to a shadowy research facility buried deep in the heart of Europe…
Brands are saying sorry at a more rapid rate than ever. CR’s advertising columnist Ben Kay delves into why sorry is no longer the hardest word and whether this is an effective strategy for winning audiences
By loosening its approach to advertising, and engaging with its audience directly, the drinks brand has transformed with the times and won a whole new set of fans
Kelly Grovier’s new book charts the artist’s persistent dialogue with classic and contemporary art
We speak to Lego’s VP of global brand development Alero Akuya about the brand’s rare ability to straddle the physical and virtual worlds with ease – whether through its immersive new art exhibition in Paris or collaborations with Epic Games and Nike
The Pentagram partner has created the titles for the acclaimed new Netflix show, which reimagines the Greek myths in a contemporary setting
A new book from Reel Art Press collates the first comprehensive history of film posters. We explore why they remain an underappreciated area of cultural design
The Autumn 2024 issue of Creative Review looks at the brands and individuals who are pushing creativity forward on their way to the top
Mark Sinclair talks to the artist and designer about his new book, Lost Ordinary Magic, and the importance of recognising the power of simplicity and the everyday wonders that surround us
We explore how the 90s, an era the UK looks favourably upon for its thriving culture, are continually inspiring a stagnated creative industry
The band’s surreal new album visuals explore a darker, more grotesque side of romance. We speak to the creative team behind the campaign about challenging the visual tropes of rock music
As the &Walsh founder launches her agency’s new offshoot Type of Feeling, she discusses why typography’s ability to evoke emotions makes it one of the most powerful tools at a brand’s disposal
Kinda Studios is tapping into the emerging field of neuroaesthetics to help creatives and brands make more impactful work that benefits people’s wellbeing