Adam Cvijanovic (b.1960, Cambridge, Massachusetts) is a painter based in New York City. He paints large-scale views of city suburbs and landscapes onto Tyvek sheeting, which can be easily transported from place to place. His work is concerned with exposing the historical and enduring hubris of American culture, painting forms that depict the search for and physical manifestation of American power and success on a monumental scale.
” We create works in response to the ever-bleakening relationship linking humans, technology, and nature. These works feature an ambiguous narrative that offers insight into the dilemma posed by science and technology’s failed promise to fix our problems, provide explanations, and furnish certainty pertaining to the human condition. Strange scenes of hybridizing forces, swarming elements, and bleeding overabundance portray Nature unleashed by technology and the human hand. Rich colors and surrealistic imagery merge to reveal the poetic roots of the works on display. The use of color is intentional but abstract; proportion and space are compositional rather than natural; movement is blurred; objects and people juxtaposed as if by chance in a visual improvisation that unfolds choreographically. At once formally arresting and immeasurably loaded with sensations—this work attempts to provide powerful impact both visually and viscerally.” – Robert and Shana ParkeHarrison
The exhibition “RAPPORT. Experimental Spatial Structures” offers new insights into the interdisciplinary approach of the architectural office J. MAYER H. For the first time J. MAYER H. has developed a walk-in installation for the museum’s 10-metre high entrance area. Walls and floor are clad in carpeting on which data security patterns are printed in black and grey. The work’s space-consuming concept negates the strict geometry of the entrance hall. The considerably enlarged, repeating patterns produce a flickering impression and transform the white cube into a playful scenario of interpermeating forms and structures. Supplementary three-dimensional models translate the two-dimensional patterns into concrete forms. The title “Rapport” is intended to be ambiguous. As a specialist German-language term from textile manufacturing, it refers to the serial pattern of the installation. On the other hand, in the military field the term “Rapport” means a “dispatch”, while in psychology it describes a human relationship in which those involved convey something to the others. In this sense it also refers to the starting material of the installation: data security patterns, which are used, for example, on the inside of envelopes. In this case, they stand for confidential communication between two parties.
” My art practice is concerned by the use of machines in the production of an artwork. With our culture becoming more and more engaged with new technologies, my work questions the implications of handing over control of an artwork to a mechanical device. With the actions of any machine the result of human intention, I use machines to allow chance to enter the creative process, exploring ideas surrounding authorship, consciousness and interaction. I allow my tools to create their marks and record its action in a physical way on to the canvas. Currently my work is concerned with painting process as the performance aspect of the production of an artwork, exploring the relationship forged between materials, aesthetics and perception across cultures. I use machines/technology to allow paintings to make themselves in order to further remove the hand of the artist. Once set in motion I often remove myself from the studio and painting process. In my current series of fluid paintings, the paint is manipulated in a number of different ways each driven by ideas surrounding process, materiality and chance encounters. The unique display of forms and colours are brought together by the artist’s hand but manipulated though the use of machines or natures forces. Some paintings are spun or shaken while others rely upon reactions between materials or gravity to allow the painting to almost form itself. The paintings are built up of many layers of paint, each creating it’s own flowing abstract surface left open to interpretation by the viewer.” – Mark Chadwick
David Altmeid is a Canadian artist (born in Montreal in 1974) who lives and works in New York. In 2001, he completed his Masters of Fine Arts at Columbia University. He also holds a Bachelor of Fine Arts from the Université du Québec à Montréal, in Montreal, Canada. Since graduating with his MFA, he has taken part in many high profile group shows at important spaces as impressive as Artists Space and Deitch Projects, both in New York City. In 2003, he was curated by Dan Cameron into the 8th International Istanbul Biennial. In 2004, he was included in the Whitney Biennial of American Art. In 2007, he represented Canada at the Venice Biennale; his installation “The Index”, curated by Louise Déry, was subsequently purchased by the Art Gallery of Ontario. David Altmejd’s sculptures mix seemingly random objects such as decapitated werewolf heads with graffiti-style Stars of David, towers made of mirrors, plastic flowers and faux jewelry, to create sculptural systems loaded with what he calls “symbolic potential” and open ended narratives. Werewolf heads have appeared so frequently in his work that in the contemporary art world, they are widely recognized as being closely affiliated with this artist.
Lovely typography street work by French artist Sean Hart. His stuff is amazing. Have a look.
Natalia Rak is one of the most exciting painters and street artists to emerge in Poland’s contemporary art scene. Born in 1986, Natalia received a degree in Fine Arts from the University of Lodz, Poland, specializing in graphic arts. Her work has been exhibited throughout Europe, and she has made waves at some of the continent’s most prestigious street art events, most recently at the 2012 Walk and Talk Festival on Madeira Island in the Portuguese Azores. (via The Ride Gallery)
Lovely work from fashion illustrator & graphic designer Sandra Jawad.