Tapetes, 2003, Vacumm cleaner dust layers.
Perhaps a comment on the under-appreciated aspect of "women's" work, or, a radical gesture of refusing aesthetic givens?
Link via MAKE Blog.
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Maria Adelaida Lopez
Tapetes, 2003, Vacumm cleaner dust layers.
Perhaps a comment on the under-appreciated aspect of "women's" work, or, a radical gesture of refusing aesthetic givens?
Link via MAKE Blog.
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Lucy McLauchlan
Merda D'Artista
London
Glyph-like - almost menaing something eternal - yet rooted in raw urban experience.
Link via Artist A Day.
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Art and Technology: Project 1967-1971
A highly-commendable effort at the Los Angeles County Museum of Art (LACMA) in archiving critical episodes of exhibition- (and art-)making. No more lame excuses ...
Link via Modern Art Notes.
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Pablo Valbuena
Pablo Valbuena: Augmented Space @ TodaysArt 2008 from casper on Vimeo.
Inter-mingling virtual and actual spaces to create visual interdependencies - the projected images depending on actual physical planes as screens; while the actual surfaces relying on the choreography of light to become visible.
Link via Digital Urban.
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Otomo Yoshihide / ENSEMBLES
"Without Records"
Using unassuming materials and clever construction, the resultant cyclic permutations are incessant, insistent and yet ambiguously resonant. From the artists' web-page:
"These installations provide people with an opportunity to reconsider the meaning, possibilities, and historical significance of sound art composed of records and turntables, which are being consigned to oblivion in the digital age."Link via MAKE.
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1000 artworks to see before you die
Strangely inclusive (and thought-provoking) even in its non-comprehensiveness - perhaps a hat-tip to the world according to (post-)postmodernism?
Link via Guardian.
Rachel Whiteread
“Place (Village)”, 2006-8
A departure or a point of inflection? Concerns for an impossible representation of domestic spaces seems to be the underlying theme. Also see short video here.
Link via New York Times.
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U-Ram Choe
"Opertus Lunula Umbra" (Hidden Shadow of Moon)
Somewhere between surreally menacing and rhythmic meditative - like a sentinel being, almost, slipping through casual moments.
Link via Make.
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Jessica Hosman
Making strange the everyday and familiar - a nod towards that impossibility of knowing for sure.
Link via Artist A Day.
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Oscar Munoz
Aliento, 1996-2002, Grease photoserigraph on steel discs, 20 cm each
Munzo's brilliance is consistently centered around that theme of impermanance which, ironically, leaves behind a more persistent trace than a directly tangible approach.
Link via Universes in Universe and Art Review.
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"Mankind Is No Island"
A winning short film by Jason van Genderenshot that is shot entirely on a cellphone - proving that it is not the tools but the story-telling that matters.
Link via lens culture photography.
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Tim Knowles
Spy Box (E3 to WC1E), 2006
Card, aluminium, digital camera, timing circuit, wiring & 6 min DVD loop
This series of work fits in with that of the artist's other works which document - almost in an investigative mode - the traces that results from an interface between a given system's own internal logic and its environment.
Link via Make Blog.
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Mark Rothko
Mark Rothko, Untitled Mural for End Wall (1959).
A new exhibition at the Tate Modern that refreshes more than it rehashes.
See articles:
Adrian Searle "Every single thing counts"
Jonathan Jones "Ambushed by Rothko"
Also see images, video and curator interview.
Link via The Guardian.
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Mike Bertino
An incongruous mix of empty signifiers - meaning nothing and something at the same time.
Link via Artist A Day.
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Neuroaesthetics
Breaking with the normal format - the article linked below seems to suggest that the key(s) to unlocking the (human) aesthetic experience is gradually being understood. If this line of research continues or even picks up momentum, maybe we might see the day that it is possible to "engineer" a work of art to evoke a particular "aesthetic experience" - then, again, maybe not ...
Seed
Beauty and the Brain
Neuroaesthetics promises to reinvigorate science's search for a theory of beauty.
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Seed
Beauty and the Brain
Neuroaesthetics promises to reinvigorate science's search for a theory of beauty.
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Curtis Mann
two men, stilts (somewhere, Israel)
entrance (Beirut)
An interesting reversal of photographic/painting techniques by way "subtraction" from a given image - yet achieving painterly effects, nonetheless. In any case, the work speaks volume about the "redemptive power" of art and, by extension, of the artist - in a non-didactic manner.
Link via lens culture.
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Roger Hiorns
Visitor at Roger Hiorns' Seizure. Photograph: Sarah Lee (Guardian)
The latest work, "Seizure", is an astounding gamble that depended on a mix of predictable behaviour and unexpected results - all ingredients of a great piece of artwork.
More photos here.
Articles here and here.
MP3 interview here.
Link via Artangel.
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Virgilio Ferreira
Daily Pilgrims, Beijing
An inversion of foreground-background, subject-object focus. Perhaps an elegy for the state of trans-global living.
Link via lens culture.
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Nikolaj Recke
10 METERS OF EXTENDED US COASTLINE , Long Island, New York 2007, Working site
Parody as critique and commentary.
Link via Pruned.
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Richard Barnes
Animal Logic series
An overwhelming silence that constructs meaning by sheer force of being ambiguous.
Link via Pruned.
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Nicola Villa
"Container Art: Pressure", Installation view - P.zza De Ferrari, Genova
"New York story", 2007; oil on paper; 45 x 80 cm
Street-art edginess mixed with a documentary sensibility.
Link via Artist A Day.
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England's Rock Art
Ketley Crag Rock Shelter, Northumberland
More photos ...
Is it a lesser "art" if it is anonymous? Or, for that matter, if done eons ago?
Link via Guardian blog.
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John Menick
The End of the End (Mirage Terminal), 2008, three c-prints, each 30 x 40 inches
The John Wayne Rehearsals (Mirage Terminal), 2008, series of c-prints, each 36 x 36 inches
A wry and detached take on the "death" of the Western film genre, and using the photographic format,
"The work treats the Western as a cinematic junkyard, a collection of images, sounds, and texts deserted by history. [...] [T]he series is also a work of film criticism enacted through other means."Link via John Menick blog.
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Radiohead
"House of Cards" by Radiohead; directed by James Frost
An ingenious way of "seeing" which goes a long way to demonstrate the poverty of human-ocular vision - and perhaps, by extension, artforms that are strictly derived ocularly.
Also see additional information on the technology that the video work is based and the making of the video.
Link via lensculture.
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Peter Greenaway
Peter Greenaway calls his latest creation a Last Supper 'for the laptop generation'
In his latest project, Peter Greenaway has grafted an aesthetic experience onto an iconic image and ends up saying something profounding new in the process. And not intending to stop as yet, Greenaway has plans to work with other great works of art - "Las Meninas by Velázquez, Picasso's Guernica, Monet's Waterlilies and a Jackson Pollock in New York". And the ultimate prize, Michelangelo's Last Judgment in the Sistine Chapel.
Also article, images, interview, and blog post
Link via The Guardan.
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Annie Wharton
"island", 2008 - acrylic and ink on mylar - 12" x 30"
"Bang!", 2007 - acrylic, urethane, pigment dispersions, and glitter on belgian linen with peripheral elements made of acrylic, urethane, pigment dispersions, and glitter on mylar - 30" x 42"
A refeshing dip into the depths of material playfulness.
Link via Artist A Day.
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David Byrne
Playing The Building, Battery Maritime Building, NYC, 2008
Using the structural complexities of an entire (abandoned) building as a found instrument, complete with feedback loops and interactive responses. Also see short video here and more information on the artist's web-page.
Link via Make, New York Times.
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Jan Vormann
Venti Eventi - Bocchignano/Rom 2007
An interesting transformation of materials and context, drawing attention to both the gap and the fill at the same time.
Link via Wooster Collective and Make.
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Mona Hatoum
Nature morte aux grenades, 2006-2007
Hanging Garden, 2008 - 770 jute sacks filled with seeds, 10 meters long
Link via Universes in Universe, Nafas Art Magazine here and here.
Recent works by Mona Hatoum who has been consistently exploring the underlying sublime nature of (implied) violence and terror.
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Kako Ueda
Memento Mori, 2006/7 in progress -- site specific wall relief -- cut black paper, h: 50 in., w: 50 in.
In this series of work, one senses the tension between the associations of paper-cuts with folk art - which is supposedly devoid of creative impulse - juxtaposed directly against the whimsical choice subject matter - as an assertion of individuality.
Go to artist's website.
Link via Paper Forest.
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Alex Metcalf
Tree Listening Installation
Using sounds to encourage the visualisation of an internal process and indirectly commenting on our anthropocentric world. Also see article with artist's interview.
Link via BLDGBLOG.
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Katherine Tzu-Lan Mann
Baltimore Untitled 2, 76 in x 42 in, watercolor and sumi ink on paper, 2007
Baltimore Untitled 3, 76 in by 84 in, watercolor and acrylic on paper, 2007
A balanced tension between sweetness and strangeness.
Got to artist's website.
Link via Artist A Day.
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Liz Miller
Errant Ecosystem - Revisited, 2007 -- Minnesota Museum of Americna Art -- Mixed Media Installation
Extract from the artist's statement:
"Inspired by systems that contain examples of simultaneous order and chaos, my mixed media, wall-based installations reference biology natural disasters and computer imagery."Go to artist's website.
Link via Paper Forest.
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Eve S Mosher
HighWaterLine, chalking in Manhattan Beach on Coney Island.
An interesting amalgamation of art, peformance and activism. Also see the dedicated project web-site. As well as the artist's current project: Insert ____ here.
Link via Eco Art Blog.
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Anselm Kiefer
Departing from the usual format, this week's post will feature a recent article on Anselm Kiefer which proves that words and art retain their separate but complimentary power to instigate a deep sense of wonder and inspiration.
Link via The Observer.
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Alison M Brady
Untitled
Untitled
Simultaneously intriguing, disturbing yet strangely absorbing. In the artist's own words:
"I strive to create dichotomies between the sensual and the horrific, the beautiful and the destructive"Go to artist's website.
Link via Artist A Day.
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Don Gummer
"Falling Water Over Broadacre," Oil on wood. 2006 - 52" x 84" x 10"
A juxtaposition of disparate architectural plans in a manner which seems to compress space-time continuum - somehow making an oblique reference to how memory works.
See also see essays on the artist's own web-page.
Via review in Sculpture.
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Robert Burden
"Mattel's Battle Cat (Masters of the Universe, 1982)", Oil on Canvas, 2006, 48" x 102"
"Toy Biz' Captain America (Marvel Superheroes, 1990)", Oil on Canvas, 2008, 33 x 101"
An interesting sensibility that is, perhaps, inevitably and profoundly influenced by popular culture. The transformation in scale of the figurines lends a sense of monumentality, albeit a tentative and fragile one, as with all attempts to recapture the recollection of childhood memories.
Burden's other series of flags, with made-up icons and symbols, continues this twin allusion to grandeur and artificiality.
Flag #1, Polyester, 2006, 30" x 48"
Go to artist's website.
Link via Underwire.
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