May 29, 2013
Peter Halley was born in New York City. He received his BA from Yale University and his MFA from the University of New Orleans in 1978, remaining in New Orleans until 1980. Since 1980, Halley has lived and worked in New York. For over twenty-five years, Peter Halley’s geometric paintings have been engaged in a play of relationships between what he calls “prisons” and “cells” – icons that reflect the increasing geometricization of social space in the world in which we live.
May 28, 2013
Dutch artist Rosa Verloop creates these fantastic sculptures that are made of nylon stockings. She tucks them with pins and molds them into human like figures.
May 28, 2013
As reference for his paintings, Jesper Palm uses his own posed photographs. Shooting from a detailed script, he varies his photos in a series of compositions with different details and angles. Having a variety of frames, he can then edit together several images on the computer to get a finished reference picture. Working with several different versions of the same image, the artist brings out certain sections and pushes back others into more secondary positions. Variably modifying colors and shapes offers greater freedom for painting, while embedding additional layers of meaning. Among his inspirations, Palm counts painters like Eric Fischl, Mark Tansey and Luc Tuymans, as well as filmmakers like Wim Wenders and Yang Fudong.
May 28, 2013
Upside Down Pastoral Scene came out of a need to engage the issue of race in American history and culture. Race is a barely repressed issue in southern rock music and became unavoidable as I researched and completed Proposal for Monument in Friendship Park, Jacksonville, FLA in 1999. Working in a somewhat similar way to Friendship Park I constructed a large field of elements with a sound track, in this case a field of inverted tree stumps. The upside down trees are a direct reference to an earlier interest of mine- the work and ideas of Robert Smithson. However, in Upside Down Pastoral Scene the tree reference is steered toward symbolic, historic and cultural meanings. The Billie Holiday song Strange Fruit forms the central axis for the soundtrack and positions the tree as a site of unspeakable violence, the site of lynching. Further symbolic concepts and interconnections are brought out by particular musical choices. For instance the Sister Sledge song We Are Family introduces the theme of family and the idea of the family tree to the work with a nod to its producer Nile Rodgers, a former member of the Black Panther Party. Ranging across genres and historical moments, blues, gospel, hip hop, jazz, classical and funk compositions are montaged together to form a polyvalent and multi-axial narrative of U.S. history. The twelve inverted tree stumps are constructed using Hollywood prop making techniques. Each tree contains a loud speaker and is placed on a square mirror. The sound track is digitally controlled, sending music to particular trees and constructing sonic landscapes as it unfolds. Ideas of the family tree, the tree of knowledge, the symbolic significance of the parts of a tree; roots, the trunk and branches are re-oriented as various compositions play out in the tree field. Upside Down: Pastoral Scene implies that African American creativity produced and continues to produce American culture, in spite the long history of overwhelming forces deployed against it.” – Sam Durant
May 28, 2013
Christy Lee Rogers is a self-taught photographer from Kailua, Hawaii. Her obsession with water as a medium for breaking the conventions of contemporary photography has led to her work being compared to Baroque painting masters like Caravaggio. With an eye for the chiaroscuro qualities of light, her subjects bend and distort; bathing in darkness, isolated by light, and are brought to life by ones own imagination. Without the use of post-production manipulation, her works are made in-camera, on the spot, in water and at night. Her unrestrained ability to excite and inflame the senses, while provoking the audience with vivacious movement and purpose, demonstrates her prolific use of the photographic medium to transform reality. Rogers’ works have been exhibited throughout the US and Europe and are held in private collections throughout the world. She has been featured in International Magazines, including Harper’s Bazaar Art China, Eyemazing, Monaco Matin, Casa Vogue, Photo Technique and others. She lives and works in Los Angeles, California and Kailua, Hawaii.
May 28, 2013
Range is a sculpture that is made by hand weaving over 6km of garden hose into a tube that is 30 meters long and 1 meter wide.
May 27, 2013
Enjoying these sculptures by Seung Mo Park (previously-blogged) Ch-ch-ch-ch-ch-check it out guys.
May 27, 2013
As an advocator of traditional oil painting techniques, Lee Chen Dao adds contemporary elements in his works, which not only records the entertaining actives for current era, but also creates a new meaning for these indecent pop cultures. Such as three plump and naked men with cartoon masks singing narcissistically or a group of pretty young people playing billiards in a noble place, these moments are just as important as other historical moment in Jan van Eyck or Caravaggio’s masterpieces, and this ironic contrast is the amusements when you see Lee’s works besides amazed by his stunning painting skills. (via Taiwan Contemporary Art)
May 24, 2013
” The stories and inspiration behind my paintings stem from life’s emotions and experiences, resulting in narrative, allegorical imagery that illustrates the parallels between human experience and the mysteries of the natural world. The lonely, desolate American landscape encompassing the paintings’ subjects serves as an exploration of nature’s sacredness and a reflection of the human soul, symbolizing all things powerful, fragile, and eternal. These real yet dreamlike scenarios serve as metaphors for the human condition, all retaining a sense of vagueness because I wish to involve the viewer in uncovering the various layers of mood and meaning to form their own conclusions, despite the fact that my main idea will always be present. As a people, we share a common thread, and as active participants in an ever-changing modern world, the purpose of my work is to remind viewers of these places that we feel no longer exist, and to recognize and honor them as a part of our history that is worth preserving. In juxtaposing the human form with animals and a bygone uninhibited American landscape, I provide glimpses into “rooms,” those oftentimes chaotic places we possess internally. The rural, Midwestern landscape of my home state serves as backdrop for the stage of human emotions and the animals present are vehicles for expressing the feelings and underlying tensions suppressed behind the human mask. Symbolic explorations of the soul and events concerning our environment are expressed through the combination of these elements to transform personal ideas into universal metaphors.” – Andrea Kowch
May 24, 2013
Stills from Egor Kraft‘s Beyond the Surface video. It is ‘a visual metaphor of existential freedom, predominance of essence over existence, and conditionality of boundaries it also has a sculptural dimension related to the evolution of form. The space as a black absolute presented as an allegory of authentic freedom as well as the narrative links to the discourse of how the consciousness and existence are related to each other.’