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- 04/20/15--06:30: _S Love Affairs and ...
- 04/20/15--09:30: _These "Realistic St...
- 04/20/15--10:30: _Five Of Our Favorit...
- 04/20/15--10:56: _Watch the Jurassic ...
- 04/21/15--04:30: _Director Brett Morg...
- 04/21/15--04:45: _Here's the Trailer ...
- 04/21/15--05:40: _Hear Kurt Cobain Co...
- 04/21/15--06:45: _Waka Flocka Flame H...
- 04/21/15--06:45: _The Strange Allure ...
- 04/21/15--08:00: _Inside the Hot Pink...
- 04/21/15--08:50: _Rihanna Shares New ...
- 04/21/15--09:30: _See Miley, Beyoncé ...
- 04/21/15--11:00: _Update: The Tonya H...
- 04/21/15--11:05: _Author Johann Hari ...
- 04/21/15--11:06: _See Photos from Our...
- 04/22/15--04:32: _Watch Kanye Perform...
- 04/22/15--05:00: _A Lana Del Rey Song...
- 04/22/15--06:30: _John Waters' Greate...
- 04/22/15--07:15: _A Hooters-Esque Dic...
- 04/22/15--08:00: _Artist Alejandro Du...
- 04/20/15--09:30: These "Realistic Stock Photos" Of People Smoking Weed Are the Best
- 04/20/15--10:30: Five Of Our Favorite Celebs on Their First Time Getting Stoned
- 04/20/15--10:56: Watch the Jurassic World Trailer, Feel Paranoid Contact-High
- 04/21/15--04:45: Here's the Trailer For the New Documentary On Martin Margiela
- 04/21/15--05:40: Hear Kurt Cobain Cover the Beatles'"And I Love Her"
- 04/21/15--06:45: The Strange Allure of Empty Film Posters
- 04/21/15--08:50: Rihanna Shares New Music for 4/20
- 04/21/15--11:00: Update: The Tonya Harding/Nancy Kerrigan Museum Is Up and Running
- 04/21/15--11:05: Author Johann Hari Knows How to End the War On Drugs
- 04/22/15--05:00: A Lana Del Rey Song Pops Up In the Age of Adaline Trailer
- 04/22/15--06:30: John Waters' Greatest Paper Quotes
- 04/22/15--07:15: A Hooters-Esque Dick-Centric Restaurant Is Coming to Dallas
We've been fans of Detroit-based three-piece Jamaican Queens since they first came by PAPER HQ to perform a set in our kitchen and, since then, the "self-proclaimed 'Detroit trap pop' group" has been busy recording follow-ups to their 2013 debut, Wormfood. Two months after their latest release, February's Bored + Lazy EP, they've got a new track and a new video, "Love Is Impossible." The clip features two cops caught up in an illicit S&M-laced affair in-between making drug busts and appeasing their unhappy wives or girlfriends.
"We wanted to create a visual representation of the song's meaning 'impossible love,'" group member Ryan Pressley says. His bandmate, songwriter/producer Ryan Spencer says, "I wrote this song in spring, after finally coming down from a brutal depression. My only real relationship had ended three months prior, but with spring's return, I felt hopeful. I realized that life isn't as horrible as I had convinced myself over the previous winter. I was still disenchanted with love and relationships in general, but discovered I could be happy alone, and as cliche as it sounds, time will eventually heal old wounds." The track will appear on the band's upcoming LP, Downers, out June 2, and you can catch them live at Brookyn's Palisades on June 20th. In the meantime, watch the video, which we're excited to exclusively premiere, above.
Besides offering a great excuse to cut out of work early and get high af, 4/20 is a good time to take stock of current debates happening around the legalization of marijuana and, more generally, how the drug -- and the people who use it -- is perceived in media and society. The Drug Policy Alliance decided all those stereotypical stock photos of zonked out stoners was a total buzzkill and is advocating for the use of "stock photos of real, everyday people who use marijuana." To that end, they're offering several open license and free to use pics of middle class suburbanites playing Jenga, gathering around a piano or enjoying the sunshine on the porch while toking some Hawaiian Purple Kush or Pineapple Haze. Take a look at some of our faves above and below and head over to Dangerous Minds for more.
As Drake told Fallon: "It was like a real pivotal day in my life because it was the first audition I went on, so that's already a monumental thing. It was also the day that I got accepted by these like really cool Jewish kids at school, and they were finally like, 'Yo, come over,'" he explained. "I had this really tug-of-war moment where I actually did something that I probably shouldn't have done that starts with a 'W' and ends with 'eed.' That was my first time [smoking], and we did it out of a starts with a 'B' ends with a 'ong.' It was crazy because I started really getting paranoid. I thought I'd just completely ruined my life. I started splashing water on my face constantly -- it was like a Clearasil commercial! I showed up to the audition and got just a little less paranoid, went in and did what I could, was just devastated. I couldn't tell my mom."
I felt that if we can give her a couple hours with her father, and it worked on that level, then that experience would probably translate to the audience. Because Frances is in a unique position in that she's Kurt's daughter, and yet she also doesn't know him. Frances does not appear in the film except as a baby.
You know, the popular myth related to Kurt revolves heavily around heroin and fame, and his feelings about his fame and his ambivalence about it or his ambition. And I kind of felt that there was a very surface narrative, and the underlining theme of Kurt's life was a sort of pursuit of family, and a search for acceptance, and acceptance primarily through family. He was kind of searching for that lost childhood, if you will. And so when he met Courtney, within weeks he had asked her to have a child and to get married. This was in I think November, maybe less than two months after they started dating. And so he obviously had a deep-felt need to start a family and to have a companion, to feel loved. And at the height of his fame, when Nirvana was selling 600,000 albums a week, he cancelled all of his obligations and he moved into an apartment with Courtney and he basically started a family. And he was really happy then, really content, and I think it was a very special period in his life. And as Kurt got deeper into celebrity and his addictions and his own family life, he kind of alienated himself a little bit from those he was intimate with. And he sort of put all of his eggs in one basket with Frances and Courtney, almost as if he had determined that, This is what I need: my art, my family, and I'm all set. More than the art, though, the family was for Kurt possibly the greatest achievement. And he was an absolutely doting, loving father and had no problems immediately connecting to his newborn.
Montage of Heck is in theaters on April 24th and premieres on HBO May 4th.
"By not showing his identity, I think that Martin Margiela became more exciting," fashion critic Suzy Menkes says in the trailer for The Artist Is Absent: A Short Film On Martin Margiela. "People wondered what he was like. There was a mystery that surrounded him." One of the main themes of the new documentary about the famously anonymous designer looks at the ways in which his mystique and concealment have enhanced his undeniable talent. In an age where designers have become celebrities in their own right, the film is an interesting exploration of an artist who prefers to let his creations speak for themselves. Not surprisingly, the film, which was directed by Alison Chernick and produced by the YOOX Group, doesn't feature any interviews with the Margiela himself but instead includes little-seen archival footage from previous runway shows and conversations with fashion designers and critics like Menkes, Jean Paul Gaultier, Raf Simons and Patrick Scallon, the former Director of Communications for the label who currently holds that role at Dries van Noten. And although he's not shown in the doc, Chernick told the The Cut that she was able to get Margiela's participation and approval -- the designer hand-selected several of the people speaking on-camera. There will be several screenings of the short in NYC this week as part of the Tribeca Film Fest and it'll get a wider release on April 27th.
What do you get when you remove all of the recognizable branding and stars from a movie poster? Delightful weirdness. The work of French artist Madani Bendjellal, by way of Its Nice That, these empty film posters highlight both the banality of movie poster art and the power of branding and text, for better or worse. Without its logo, the poster for Jaws looks like one of those gradient-color default wallpapers for iPhones and Forrest Gump is a park bench stock photo. Still, they're unmistakable. Posters with taglines, but no corresponding central image, are our favorites. Alien is much more chilling with its "in space, no one can hear you scream" ensconced in darkness and a Marty McFly-less Back to the Future is equally eerie with its disembodied "then one day... he wasn't in his time at all." Check them out below and see more here.
Back to the Future
Artist couple Signe Pierce and Alli Coates first caught our attention with their performance art film American Reflexxx, which has been screening at art shows throughout the country for the past year, and made its online debut this week. The piece conducts a social experiment in which Signe struts around the bro-clogged, neon-lit promenades of Myrtle Beach, South Carolina, wearing platform heels, a mini-dress, and an outerworldly silver mask that completely obscures her face, silently roaming among pedestrians as Alli shoots video. The resulting footage of her encounters is a fascinating, poignant and disturbing exploration of mob mentality and contemporary attitudes about gender and sexuality.
The blonde duo consider their work to be part of a cyberfeminist social and aesthetic movement, in which the Internet has enabled the rise of the feminine perspective via social media and online publishing. They met three years ago in New York, but recently made the move to LA and live together in a pink-filled Barbie bungalow, where their cyberfemme aesthetic unfolds in full force. We recently had the chance to visit them at home and take a look at their signature lifestyle. Photos, below.
Alli Coates and Signe Pierce at home in LA’s Echo Park
"In our home we have artwork by a few artists that work with cyberfeminist themes, such as graphic design duo Sarah Faith & Nicole Killian and photographer Elizabeth Renstrom. Pam Anderson is the centerpiece of our shrine. The female form is beautiful and should be celebrated rather than shamed, and Pam is a great representation of unapologetic, unabashed femininity.” -- Signe and Alli
"We fell in love in cyberspace, which is rather fitting." -- Signe and Alli
The couple met on Tumblr and OkCupid. Signe found Alli's photography on Tumblr, and a week later by coincidence (or algorithms), Alli messaged Signe on OKCupid.
A donut-turned-décor, leftover from Valentine’s Day
"We have an elaborate collection of LEDs, black lights, and neon lights that we have amassed over the years, as well as some really great prisms and crystals." -- Signe and Alli
You'll have to forgive Rihanna for being a day late posting this dreamy new track off her upcoming for 4/20 -- it's just that she was acting as as bridesmaid in her beloved assistant's weed wedding and further cementing her status as the zenith of Bad Gal-ness.
"In celebration of 420, here's an interlude from my 8th studio album that I call James Joint," Rihanna posted on her site -- which crashed when she tweeted a link to the song.
Listen over at Rihannanow.com and revisit our tribute to the ultimate #stonergirlhere.
Taking a page from Kehinde Wiley, the web has been obsessed lately with mashing up modern celebs and historical paintings. Previously, we introduced you to a Tumblr that points out the *eerie* similarities between contemporary rappers and classical art subjects along with a project that inserts magazine covers into the same sorts of historical artworks. Today we found a French artist whose work riffs on a similar theme, replacing the figures in art masterpieces with the faces of celebrities. Voyages dans les tempsis the brainchild of Rennes-based graphic artist Bénédicte Lacroix and includes stars like Miley, Ryan Gosling, Jack Nicholson, Madonna, Beyoncé and more transformed into military heroes, Dutch maidens or in Leonardo DiCaprio's case, Vincent Van Gogh himself. We hear that Lacroix works as a retoucher and it shows -- her precision when it comes to inserting Miley's scowl into a Henri-Guillaume Schlesinger painting or Madonna's gaze into a piece by Vittorio Corcos is impressive. Take a look at some of our favorites and head to Lacroix's Tumblr to see the rest.
Jack Nicholson in Portrait of Louis Alexander Fagan by John Singer Sargent
Leonardo DiCaprio in Self-Portrait by Vincent Van Gogh
Last month we wrote about a new museum coming to Williamsburg that's dedicated to the demented saga of Tonya Harding and Nancy Kerrigan and, after much fanfare, Brooklyn's newest cultural institution has finally opened its doors! The museum, which is inside the apartment of friends and roommates Matt Harkins and Viviana Olen, features photos and other artifacts from the 1994 incident. And in case you don't live in NYC, Viviana and Matt have filmed this informative video that gives you a guided tour of the pieces on display. Go for gold, Matt and Viviana!
Eighty percent of Americans agree that the war on drugs has failed. And Johann Hari has done something about it.
Johann Hari has written an important and powerful book that reads like a thriller and gives us all we need to know to make the case for repeal. Chasing the Scream: The First and Last Days of the War on Drugs exposes the failed policy that has ruined millions of lives and wasted billions of dollars in its misguided approach, including its unfair targeting of African Americans and its role in creating the largest prison-industrial complex in the world. Hari also finds heroes with remarkable stories, at once humanizing his argument and making it clear that prohibition policy is flawed and ineffective. He looks at the science, challenges our assumptions about addiction and uses case studies of countries like Switzerland, Portugal and Uruguay where enlightened legalization has shown dramatic results. As we see in Colorado and Washington, marijuana legalization is on the rise because the people, not the politicians, are applying pressure and leading the way.
"One of reasons I was motivated to write this book is that I have drug addiction in my family," Hari told me over Skype from his home in London. "I wanted to understand what causes addiction. And what can be done to help people."
Humanizing addiction, he says, is the best place to start.
"We've dehumanized so many people at the heart of this, whether it's drug users, drug addicts, drug dealers, cops or the people who live in the supply-route countries," Hari says. "I honestly think if most people in America or Britain could see [the people in the book] as human beings like them, with hopes and dreams and fears, they wouldn't support the continuation of this war. No one wants to read a 400-page argument. I think the way to change people's minds abut this is through stories, not arguments."
Indeed, America's ethos of individualism doesn't allow much sympathy for the homeless or down-and-out. We tend to view addiction and substance abuse as a self-created problem, when it's more complex than that.
"It's very natural to be irritated by drug users," he says. "I think one of the reasons the debates over the drug wars are so charged is because it runs through the heart of each of us. Everyone has a prohibitionist in their head someplace and, at other points, a compassionate and loving person."
Hari found that America did not embrace drug prohibition when Henry Anslinger, commissioner of the Federal Bureau of Narcotics, first imposed it in 1914. "One thing that struck me was that when drug prohibition was introduced 100 years ago, it was massively contested in the US. There is a huge fight back from doctors who continued to prescribe heroin and cocaine to drug addicts because they didn't want them to go to dealers. 17,000 doctors were arrested -- as far as I know, it's the biggest roundup of doctors by law enforcement ever in US history. The drug war was born in America and imposed on the rest of the world by America, but the most powerful and eloquent voices against the drug war also come from America."
If a notoriously conservative country like Switzerland can reach the right conclusion, there's hope. "They voted twice in referenda to legalize heroin by huge majority," Hari says. "And Switzerland is an exceptionally right-wing country. Women got the vote in 1978. This is like Utah legalizing heroin. The argument that won in Switzerland is really important: that the drug war means anarchy. It means unknown dealers selling unknown chemicals to unknown people all in the dark. They do it in our public places, they spread disease and they are unsafe. Legalization is a way of restoring order to the chaos. What we do is take those addicts out of our parks we put them in nice clean clinics. The way it works is you turn up, you go to clinic, they give you heroin. You inject it there. You can't take it out with you. And you go off to work. Overwhelmingly, once the chaos of the street addicts ends and they are given some support to get housing and so on, they get jobs. They saw a massive fall in street crime, car theft, muggings and prostitution. What you saw is a restoration of order."
That is the way Hari proposes to cut through the cultural divide's pro- and anti-drug positions.
"What we need to communicate to people is that you can be anti-drugs but still be against marijuana prohibition because that causes even more problems than the drug itself. We've transferred one of the biggest industries in America to armed criminal gangs who are fucking up our society in all sorts of ways, and we can actually bankrupt them if we choose a different approach. That's the argument that can win."
He says the baby steps the United States has taken towards ending the war aren't to be discounted. "All political change happens incrementally," he says. Fears that legalization would cause massive societal issues, he says, mostly become unfounded when compared to the success other countries. "The things that people are most afraid of do not come to pass," he says. "We now know what will happen."
An important component of reform in Portugal, for example, is diverting the money previously earmarked for enforcement into rehabilitation, to reconnect addicts to society in an enlightened, progressive way. "It's the opposite of what we do," he says. "We take addicts and cut them off."
Hari says the most destructive part of the drug war is violence. "If you and I go rob a local liquor store, they could call the cops. And the cops would take us away. So that liquor store doesn't have to be violent and intimidating. If we went to the local weed and coke dealer and tried to steal their product they couldn't call the cops. They would have to be violent. If you're a dealer you don't want to have a fight every day so what you have to do is establish a reputation for being so terrifying that no one would dare to fuck with you. The war on drugs creates a culture of terror: you have to be terrifying for it to work because that's how you protect your product. The war on drugs creates a war for drugs. Al Capone didn't kill people because he was drunk, but because alcohol was prohibited."
Drug-related deaths, he says, are mostly a misnomer, a form of double speak. "Overwhelmingly," he says, they are "prohibition-related, not drug-related. If they banned milk, we would have a war for milk. That's what happens when you have a prohibited market."
One of Hari's major revelations is his revisionist views on the nature of addiction itself. "If isolation and pain cause drug addiction, the idea of imposing more isolation and pain is obviously wrong," he says.
Politicians know this, but few act. "The reason why although Clinton, Bush and Obama all had been drug users in their younger days, and all had disgraceful drug policies, is because there isn't a big enough movement exerting pressure."
To that end, Hari has created chasingthescream.com, a repository of all his interviews as well as a primer for taking up the cause.
"What we need is a huge and broad-based movement demanding change which will outweigh the voices on the other side," says Hari. "The ones that are frightened of what legalization means."
Last night Paper hosted a screening of the upcoming Albert Maysles documentary Iris with Kate Spade New York, BAMCinematek and the film's legendary style-icon subject herself, Iris Apfel. Wearing a cow-skin coat, Apfel held court on a panel discussion moderated by our very own Kim Hastreiter as well as Mickey Boardman and the film's producers. Among various bon mots shared by the 93-year-old, Apfel said she thinks the last great designer was Cristobal Balenciaga and departed the following wisdom on the audience, which was something her father said to her growing up: "Never expect anything from people. Then, if they do something nice for you, you're happily surprised. And if they don't, well, you're not upset." You can't argue with that.
The film was shown as part of Kate Spade New York's ongoing "Interesting Women, Interesting Lives " series at BAM. Take a look at photos from the evening below.
Deborah Lloyd, President and Chief Creative Officer of Kate Spade New York, and Iris Apfel
Our current cover star Kanye West performed last night at the TIME 100 party, surrounded on stage by partially-clothed black men covered in chalk and tattered clothing. West, who's also on TIME's cover, performed several songs, including "Gold Digger,""New Slaves,""Black Skinhead" and "Only One," a clip from which is above.
Earlier in the night, BAMF Supreme Amy Schumer found herself next to Kimye on the red carpet and threw herself on the ground in front of them. Schumer told TIME, "I saw them and said to my publicist, 'Can I pretend to fall?' and she said, 'I can't stop you."
Kanye just glanced at her and kept walking. But, hey, it looks like Kim's bodyguard thought it was funny! And he seems like a tough crowd.
Here's a video of the stunt below. As well as more clips from Kanye's performance.
After contributing music to the soundtracks for Big Eyes and Maleficent, Lana Del Rey has once again lent her signature dream gloom to another film, The Age of Adaline. The movie stars Blake Lively in the titular role as an immortal young woman who doesn't age past 29 (how awful). We get our first taste of LDR's new song, "Life Is Beautiful," in the movie's trailer, which shows Lively in lots of pretty period hairstyles while La Lana's delicate crooning plays in the background. Give the clip a watch, above, before the movie comes out this Friday.
In honor of the one and only cinema legend and pope of trash John Waters' birthday today, we've rounded up all of our favorite Waters'Paper soundbites from over the years. A three-time Paper cover star, Waters is one of our biggest heroes. Below, our favorite Watersisms from the archives.
From an April 1990 interview about Cry-Baby.
Kim Hastreiter: You pick a variety of people [to be in your films]: old, young, pretty, homely.
John Waters: They're definitely all beautiful to me. It's all kinds of beauty. To me, nobody's ugly.
On casting Iggy Pop: Iggy's the godfather of everything I believe in. I've only been to three rock concerts in my life, and Iggy was one of them and one of the only ones I ever liked. I love the fact that Iggy is completely clean now. I think he's a good actor. He should play a Bond villain. He's got a face like no one else.
On casting Traci Lords: I've never seen her early movies. I know about them, but for god's sake, we don't judge. To me, any kind of past that you've changed around is a kind of plus. I knew the girl was smart when she told me she wanted to play Hatchet Face. [Kim McGuire was given the role of Hatchet Face, Lords was cast as Wanda Woodward.] She didn't even want to look pretty. I think she came to the film with an ounce of Traci Lords left in her and she left a teenager, which is nice.
In April 1994, Ann Magnuson and Waters discuss his new film, Serial Mom.
Ann Magnuson:"I love when L7 portrayed the band Camel Lips in those specially designed, camel-lipped crotch trousers -- hysterical."
JW: Well we looked at Mick Jagger's dick for years, so why not this?
AM: You've said Middle America hates camp and surrealism.
John Waters: Unfortunately, I learned in my career that they do. It doesn't work. They don't like camp because they don't think anything so bad is good. They don't even have good yet. They're like, "What's that mean? That's not real. Life isn't like that. That's stupid." Camp's over. I don't hear anybody say that word. Maybe older gentlemen in an antique shop talking about a Betty Grable calendar -- that's camp. Or a Tiffany shade is camp.
AM: You know, sometimes people will refer to the stuff I do as camp, and it just annoys me.
JW: Don't ever print that or they''ll say it to you all the time, to get on your nerves. Never let the critics know the one thing they say that you hate, or they'll say it over and over.
AM: I know, but like with feminism, people aren't defining these terms properly, so I don't know what they mean by them. They just become meaningless after a while.
JW: I don't think you should ever say that you're not a feminist, because I would never say I'm not.
On Serial Mom's famous dog feet-licking scene: Dog-shrimping, right. "Shrimping" is sucking feet -- it's an old term. Y'know, little shrimps? You suck 'em. It's a theme that has recurred in my movies because it's safe sex, certainly. I figured that there are people who watch television alone and let the dog shrimp them.
Johnny Depp hearts Patty Hearst: Johnny Depp said in an Us magazine interview that he had a crush on Patty Hearst when he made Cry-Baby. She said, "I'm going to to show it to everybody in high school who was mean to me."
On taking the bus from Baltimore to New York City as a teenager: I was angry and alienated. I used to make my way to New York all the time. I pierced my ear at 16 on the Trailways bush. With just a needle -- blood was pouring out, and people were like "Eeeek!" and moving away from me. And I wore the earring one day. It got septic and turned green, and then I took it out and never wore an earring again. That was in 1963.
I wanted to be a beatnik. I would go right to Greenwich Village, and think "God! It's like Life magazine. There they are, what I want to be!" And I looked like the most white-bread suburban Baltimore boy, which I was.
Waters rhapsodizes about Comme Des Garcons designer Rei Kawakubo in "Rei Kawakubo, I'm Your Biggest Fan," September 1998.
I'm scared of her because I respect her so much. She never smiles. She always looks like she's been sitting in a cell thinking about hemlines for two years like a Catholic saint who gave up everything to think about how to deconstruct clothes. You don't see her sense of humor when you meet her -- she always wears leather and black and seems to be surrounded by bald-headed women. I think, of course, she has a great sense of humor. No one could design clothes that witty who didn't. I think you can be very serious about your work and have a sense of humor, too. I am very serious about my work and I try to make good trash.
Waters tells us about his dreams for a record label in our September 2004 20th anniversary issue.
Can you imagine -- a John Waters record label? I was going to call it "Rimmer Records" and have the logo be an asshole, but we're not doing that.
In an interview with Waters about his 2010 memoir Role Models, he tells us there are no good dive bars in New York City. But Baltimore has plenty.
[New York dives] are infected by irony and fashion. Everyone comes to New York to be a version of something. For the people in these Baltimore bars, there's no irony. They're the opposite of trendy. People in Baltimore always say to me, 'Whydid you get an apartment in New York?' Everyone in New York participates in irony. But no one in these Baltimore bars participates in it. It makes for a very different climate and one, for me, as a writer, that's a much more important one. These are the kinds of people who I make movies about. I love going to all the new clubs in New York; I try out all the new restaurants. I like it all. It's just not my material.
In a 2012 interview, Waters tells us about going to midnight mass with Divine.
We used to have to go to midnight mass, which I hated. Divine would come to midnight mass, too, but in drag. He'd pass with the adults, but the children knew.
In 2013, it's what he finds funniest about Christmas.
I think one of the funniest things about Christmas is a living crèche or a living nativity scene. They're frightening. I find them scarier than any Diane Arbus photo. I go to them like people go to haunted houses at Halloween, but I scrunch down in the crowd because I don't want people to see me. Then I'd feel as perverted as they are.
Derrame (Spill), 2010
While on vacation in Mexico in February, we decided to drive from Tulum down to Punta Allen at the end of Highway 109. After an hour we stopped for a swim, but, sadly, couldn't even get close to the water due to the incredible amount of plastic crap that covered every square inch of sand. Of course up in Tulum, they clean the beaches every day so the tourists can pose in beautiful sunrise selfies. A few miles away -- and ironically in an area called the Sian Ka'an Biosphere Reserve -- there are no regular clean-up crews, so you get a glimpse of the sad reality of ocean pollution.
Mexico City-born artist Alejandro Duran has documented this huge depository of trash with a series of photographs called "Washed Up." He uses the trash to create and photograph color-based, site-specific sculptures and hopes that the works "mirror the reality of our current environmental predicament."
On Wednesday, April 22nd, from 6 to 8 p.m., there's an opening for an exhibition of photos from Duran's "Washed Up" series along with a screening of a short film directed by Stefanie Duran at Habana Outpost (757 Fulton Street, Brooklyn), near their current home in Fort Greene, Brooklyn. Next month, there's a "beach clean" scheduled for May 2nd in the Sian Ka'an Reserve and another photo exhibit on May 11th, nearby in Punta Allen, Mexico.
And, yes, today is Earth Day.
Take a look at some more of Duran's works, below.
Algas (Algae), 2013