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the
PEAK
creed mctagger t pat perry ozzy wright things we dig glenn brown r ic hard avedon
please magazine
EDITOR-IN-CHIEF micah bradshaw micahab9@gmail.com CREATIVE DIRECTOR micah bradshaw micahab9@gmail.com ASSISTANT DIRECTOR micah bradshaw micahab9@gmail.com SKATE EDITOR micah bradshaw micahab9@gmail.com SNOW EDITOR micah bradshaw micahab9@gmail.com SURF EDITOR micah bradshaw micahab9@gmail.com MUSIC EDITOR micah bradshaw micahab9@gmail.com ADVERTISING ads@pleasemag.com CONTRIBUTORS wiliam marshall, daniel russo, jason arnold, greg escalante, nathan spoor, tom carey, tawnya schults, mike murciano, geoff shively, vasey holland PHOTOGRAPHERS jasonkenworthy, dominic petruzzi, toby ogden,pat eichstaedt, julian lecorps, ryan boyes, zach hooper
the
LETTER STAYING
FROTHY SINCE
1991 Coming to your doorstep this month is out newest issue of PLEASE. MAGAZINE! The whole team is excited for this release and want to bring the up and ups to your frothing eyes. Bring you to the forefront of surf, skate, snow, art, music , and all the other creatively attached humans, We plan to give you the whos whos and the not so who’s. Bring those local artists and board riders to your eyes while trying to make a name for those small people out there. Who’s playing in that next show this weekend? We have got the lineup for you and much much more with up and coming shows and galleries showcasing out featured creatures of the month. I just got back from a surftrip so i am a little jet lagged at the moment but this coffee sure does the trick.... .....sorry..... coffee went through me real quick. Did i mention how good the waves have been lately in the good ole pacific? i have been out in the water a little too much this month and it shows. The magazine might be a little sandy, wet, and/or soggy from our staff and this our return policy...well there isn’t one so stay frothy and ......
ENJOY!!??!!
CR33D McTaggert
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pat perry ARTIST, CREATOR, HUMAN? Minum simeniet laut ea quae volupta tempore ceatatiatur? Lest fugit as erfernatem quamus, ut quid quam ratus alibus, que dolupta as modia dolorrum ut quis minctotatem ut et moluptat. Uciatem explia comni qui seque simus mos erupiscia voluptatist et fuga. Ut quam, offici rem eaquas con rerunt officid ictotat enimi, doluptatem volut porunt haribusandi blab imus am estisimaxime ea excesti oreicipsa vellatem ape cus aut quam vene eos id ut et vid et rem eiuntur, officia doluptat volumquia nis et pos vel ius, consere ptionse sam, que essintur? Qui inctectam rem quodi aut fuga. Et rest a qui volendebitia quation sequam nonsequam velestis utature aut odi dendis sam eaquo oditi quaturi.
OZZY WRIGHT
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VANS CLASSIC HI-TOP
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BRIXTON CAPILARRI HAT
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Q: Is this new work? A: They are not all finished— some of them have been on the go for over a year. Q: How long do they take? A: If a painting is on the wall it’s open to being painted! This [indicating Burlesque, 2008, a still life painting of apples] has been out of the studio twice now and come back. Every time it comes back I change it, even though it’s going to be in the Tate show and has already been photographed. Q: Part of the power of your work is that you are directly addressing the problem of painting. It seems to me that one of the huge challenges for artists now is what to do—what subject can you possibly have? A: That always felt very much an issue when I was at college. What you paint, how you paint, painting is dead, this is the last dying throes of painting. And I really no longer think that. I’ve tried other things—I’ve tried using photography, and I do use computers and forms of image-making other than painting. The computer is probably the best example of something that is there to challenge painting. But the whole process of printing is
so bad, so lumbering and awful, that it can’t compare to the precise technology of painting, where what you put on the surface is what you actually see. The work wasn’t always about the brush marks, but they have developed as a fascination of mine. I suppose it is born of my desire to be the sort of painter that is able to manipulate those bravura, quick, elegant and speedy brush marks. And also I have a kind of healthy cynicism about what it is to look at the world, to be in a modern world surrounded by images.
the notion of the avant-garde to push him into doing things that might not necessarily work. The point was more to try than to succeed. Q: You certainly have succeeded, in terms of public recognition of your work. Your biography is very impressive—constantly exhibiting, show after show, year after year, all over the world, an extraordinary amount of hard work.
A: I get a real kick out of painting. There are not many other things that can give you that Q: It’s not just the slashing and long-term satisfaction, that “my dashing around with the brushlife is worth something” sort of strokes, is it? It’s also about the feeling. It’s intellectually stimulatrelationship to the subject. If you ing: the problem-solving aspect had been Soutine, you’d have of “How can I continue to make been in the studio with a side of things better?” At the end of the beef rotting away, and you’d be day I always feel that I’m short painting what it looked like. You’d of what I wanted to achieve. The have been in a direct relationship paintings are a struggle to try to the subject. to get to work. Sometimes you see it. Or you see other art that A: But Soutine was also in there inspires you and you come back with the history of an awful to the studio and think, “Oh, my lot of other artists. He had the work is so dull,” so you try and knowledge of Cézanne and the improve. Impressionists, van Gogh and all those artists to back him up, to suggest what he could and couldn’t do, what works and what doesn’t work. He also had
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A Portrait of an Artist
W
hat do Jean Genet, Jimmy Durante, Brigitte Bardot,Georgia O’keefe, Jacques Cousteau, Andy Warhol, and Lena Holmes have in common? They were a few of the many personalities caught on film by photographer Richard Avedon. For more than fifty years, Richard Avedon’s portraits have filled the pages of the country’s finest magazines. His stark imagery and brilliant insight into his subjects’ characters has made him one of the premier American portrait photographers. As Avedon’s notoriety grew, so did the opportunities to meet and photograph celebrities from a broad range of disciplines. Avedon’s ability to present personal views of public figures, who were otherwise distant and inaccessible, was immediately recognized by the public and the celebrities themselves. Many sought out Avedon for their most public images. His artistic style brought a sense of sophistication and authority to the portraits. More than anything, it is Avedon’s ability to set his subjects at ease that helps him create true, intimate, and lasting photographs.
Throughout his career Avedon has maintained a unique style all his own. Famous for their minimalism, Avedon portraits are often well lit and in front of white backdrops. When printed, the images regularly contain the dark outline of the film in which the image was framed. Within the minimalism of his empty studio, Avedon’s subjects move freely, and it is this movement which brings a sense of spontaneity to the images. Often containing only a portion of the person being photographed, the images seem intimate in their imperfection. While many photographers are interested in either catching a moment in time or preparing a formal image, Avedon has found a way to do both. Beyond his work in the magazine industry, Avedon has collaborated on a number of books of portraits. In 1959 he worked with Truman Capote on a book that documented some of the most famous and important
All photographs are accurate. None of them is the truth.
 Richard Avedon Buster Keaton, Gloria Vanderbilt, Pablo Picasso, Dr. J. Robert Oppenheimer, Frank Lloyd Wright, and Mae West. Around this same time he began a series of images of patients in mental hospitals. Replacing the controlled environment of the studio with that of the hospital he was able to recreate the genius of his other portraits with non-celebrities. The brutal reality of the lives of the insane was a bold contrast to his other work. Years later he would again drift from his celebrity portraits with a series of studio images of drifters, carnival workers, and working class Americans.
Throughout the 1960s Avedon continued to
work for Harper’s Bazaar and in 1974 he collaborated with James Baldwin on the book Nothing Personal. Having met in New York in 1943, Baldwin and Avedon were friends and collaborators for more than thirty years. For all of the 1970s and 1980s Avedon continued working for Vogue magazine, where he would take some of the most famous portraits of the decades. In 1992 he became the first staff photographer for The New Yorker, and two years later the Whitney Museum brought together fifty years of his work in the retrospective, “Richard Avedon: Evidence”. He was voted one of the ten greatest photographers in the world by Popular Photography magazine, and in 1989 received an honorary doctorate from the Royal College of Art in London. Today, his pictures continue to bring us a closer, more intimate view of the great and the famous. Avedon
died
on
October
1st,
2004.
YES...
30
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