Published by The Underground Museum, in partnership with the London-based arts and media company The Vinyl Factory, Feb Mag was the realization of an idea that began with the late artist and curator Noah Davis and his brother, the filmmaker and artist, Kahlil Joseph. What took root as a photo blog launched by the pair in 2009, manifested in print in 2017 as the official publication of The Underground Museum, the dynamic LA art space which Noah Davis co-founded in 2010 with his wife, the artist Karon Davis. Centered within the creative and cultural vortex of the museum, this first edition of Feb Mag featured work by both Davis and Joseph and the museum’s extended network of artists including Melodie McDaniel, Martine Syms, Kerry James Marshall, Kara Walker, David Hammons, Deana Lawson, Arthur Jafa, Durimel, and Henry Taylor.
softcover, 184 pages, 9 x 12 inches, offset printed, perfect bound
Top: JUSTEN LE ROY, The Underground Museum, Los Angeles, California, photograph by DENIRO ELLIOTT, 2017. First row: Installation view of "NON-FICTION," curated by NOAH DAVIS, at The Underground Museum, 2016 — 2017, photograph by JUSTIN LUBLINER. Pictured are works by KARA WALKER, ROBERT GOBER, MARION PALFI, and KERRY JAMES MARSHALL. Courtesy: MOCA. Second row: Faux advertisement with photograph of KARON DAVIS by MELODIE McDANIEL, 2007. Work in progress by KARON DAVIS, The Underground Museum, Los Angeles, 2017. Screen grabs via Instagram, @karondavis.
LEE HARRISON, Creative Director; MYRIAM BEN SALAH, Editor; ADAM SQUIRES, Art Director; ALLISON LITTRELL, Assistant Editor; JACK LEVINSON, Copy Editor; MEGAN STEINMAN, Producer, THE UM; THE UM / VF, Publishers.
Venue, an original content series presented by VSCO (viz-cōh), documented contemporary music artists via short films, video vignettes, and photo essays. Projects featuring Wet, Shigeto, Korey Dane, Leon Bridges, Savages, Nao, and Majid Jordan were produced by the technology company's New York-based, in-house creative studio in collaboration with commissioned filmmakers and photographers.
Top: WET, photograph by CLEMENT PASCAL, 2016.First Row: (L) SAVAGES, London, England, photograph by BELLA HOWARD, 2016. (R)
LEE HARRISON, Creative Director, Sr. Editor; JOAKIM JANSSON, Creative Director; HASSAN RAHIM, Creative Director (WET "BODY"); MEAGAN WOOD, Executive Producer, Photo Editor; THANH NGUYEN, Executive Producer; WAYNE WU, Chief Creative Officer, VSCO
Cinematic gestures, a documentary approach, and sublime live performance takes were deftly woven together by director Omid Fatemi in this standout edition from Venue, the original content series that chronicled new music artists through films and photos essays. Featuring Korey Dane — an LA-based singer-songwriter steeped in the American roots music tradition — the film was set within the High Desert of California, a place that played a crucial role in Dane’s formative years and which has remained a source of inspiration for the artist. At a famed Joshua Tree roadhouse bar and on his father’s remote homestead, Dane performed acoustic renditions of “The Lion & The Keeper” from his critically acclaimed album Youngblood, which was released through the Innovative Leisure record label in 2015.
A collaboration by the writer Anicée Gaddis and photographer Alessandro Simonetti, "I & I" was released as part of their ongoing, multifacteted artistic survey of Jamaican culture. Through expansive storytelling and presentation — including a limited edition hardcover book, digital content, and an exhibition — the "I & I" project examined the origins of the Rastafari faith and the manner in which it is being expressed in modern-day Jamaica through Rasta elders, scholars, and a generation of young activists and artists. The title originated in Rasta semantics whereby the pronouns you and me are replaced by I and I to express a oneness among people and as a means of signaling a direct connection to God.The project was produced by VSCO's in-house creative studio and published as part of the technology company's original content programming.
Before returning to Kingston, you grant yourself the pleasure of a swim at Boston Bay. The waves are high and some surfers are out on their boards, while families with young children populate the shoreline like human bouquets. You swim out far, farther than may be wise, and as you start to manage the waves, to dive under their consecutive pulse and pull, your mind begins to spill forth with all that you have seen and heard during these past days. The priest cradling the Bible as if it were a small child. Yaadcore’s baby daughter clutching the cross around his neck as he spoke to you about Marcus Garvey’s Black Star Line. Brother Levi’s eyes emanating one magnetic truth after another. A lionized Billy Mystic communing with the sea. Everyone rocking to their own frequency. Everyone looking like Jesus. “Rasta is the future and the future is now,” I-Nation said. And are we really spirits inhabiting the flesh? And if so what do our past lives look like? What do our future selves hold in store? As the water ebbs around you, you begin to wonder if under the universe’s rhythm we return to each other in waves.
Nozomi Ohno is a practitioner of kyūdō, the Japanese martial art of archery, which has its origins in the nation’s history dating back to the end of the Stone Age on the archipelago, when the use of the bow first made its appearance. In this short film by Alan Algee, the Kyoto-born Ohno, who had just turned 21 at the time of filming, and having realized a milestone of three years of training as a kyūdō artist, spoke about her engagement with budō (the martial arts) as not only a path to personal development and self-discovery, but also as a means towards realizing and preserving a cultural identity — of manifesting and protecting the essence of being Japanese.“Cannot Forget Our Heart” was an installment in the larger “Kyoto” project by Alan Algee, in which the American filmmaker sought to gain an understanding of his adopted city, and its unique intersection of ancient and modern worlds, through a four-part series of short films. The project was commissioned and produced by the in-house creative studio of VSCO, and released as part of the tech company’s original content programming venture in 2016.
Its name a reference to the axial tilt of the earth, 23.5 (twenty-three-point-five) was a platform dedicated to global cultural narratives as told through short films and photo essays. Presented by the technology company VSCO — known for its innovative photography app — the programming featured stories from its own international community of amateur photographers and projects made through collaborations and commissions with guest creatives.