
Look: Rams' practice field in Maui features awesome alternate logo at midfield
Look: Rams' practice field in Maui features awesome alternate logo at midfield
The Los Angeles Rams are holding their mandatory minicamp this week, but it won't be at their headquarters in Woodland Hills. Instead, they're in beautiful Hawaii, specifically on the island of Maui.
It's a special edition of minicamp, which the Rams are calling 'Mauicamp,' and it's only appropriate that the practice field at War Memorial Stadium gets a special design, too.
Rather than putting their traditional logo at midfield, the Rams used an alternate logo designed by Hawaiian-born artist Aaron Kai, who's now based in Los Angeles. Kai tweaked the Rams' LA logo to make it Hawaii-themed, turning the white-and-yellow horn shape into waves.
The Rams previewed the field design on social media.
And here's a look at some of the merchandise the Rams are selling at a pop-up shop in Maui, all designed by Kai himself.
It's awesome that the Rams aren't just relocating minicamp to Maui, but they're going all-in with community events and this special merchandise run with a renowned Hawaiian artist.
It should be a fun week for the team in Hawaii as they wrap up their offseason workout program before training camp kicks off next month.
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It suggests a 2008 riff on the long, rich legacy of Kazimir Malevich's radical, revolutionary geometric abstractions from 1915. The reference to the Russian avant-garde recalls that Malevich's art was dubbed Suprematism, which bumped aside the academic hierarchy of aesthetic rules in favor of 'the supremacy of pure artistic feeling,' most famously represented as a painted black square. Here, it twists into an inevitable jab at an ostensibly liberal Modern art world, still in fact dominated by unexamined white supremacy. 'Nobody' weaves together art and social history in surprising ways. It's one of three geometric abstractions Davis made, their shapes based on the map contour of a battleground state in the revolutionary election year that brought Barack Obama to the presidency. Colorado, a state whose shape is a simple rectangle, flipped from George W. Bush in 2004, while the secondary color of Davis' choice of purple paint was created by combining two primary pigments — red and blue. 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People were willing to harm everyone in a community by dismantling a popular public amenity rather than accept full equality. In '1975 (8),' the title's date is within just a few years of the Supreme Court's appalling ruling in Palmer vs. Thompson, which gave official blessing to the callous practice McGhee chronicled. The 2013 painting's composition is based on a photograph taken by Davis' mother four decades earlier. A bright blue horizontal band in an urban landscape is dotted with calmly bobbing heads. A leaping male diver seen from behind dominates the lower foreground, angled toward the water. The soles of his bare feet greet our eyes, lining us up behind him as next to plunge in. Davis suspends the aerial diver in space, a repoussoir figure designed to visually lead us into the scene. Like the unicorn rider, he assumes the artist's metaphorical profile. A moment of anticipatory transition is frozen, made perpetual. 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One room in the show includes mock-ups of classic sculptures — imitations — by Marcel Duchamp, Dan Flavin, Robert Smithson and Jeff Koons, which Davis made for an exhibition to reference the classic 1959 Douglas Sirk movie about racial identity, 'Imitation of Life.' The appropriations ricochet off the feminist imitations of Andy Warhol and Frank Stella paintings that Elaine Sturtevant began to make in the 1960s. Not all of Davis' paintings succeed, which is to be expected of his youthful and experimental focus. An ambitious group that references raucous daytime TV talk programs from the likes of Maury Povich and Jerry Springer, for example, tries to wrestle with their trashy exploitation of identity issues as entertainment — DNA paternity tests and all. But a glimpse of 'Maury' with a crisp Mondrian painting hanging in the background just falls flat. The juxtaposition of popular art's messy vulgarity with the pristine aspirations of high art is surprisingly uninvolving. 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San Francisco Chronicle
an hour ago
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