The above video was created by Adam D. Miller, and was screened at an event at the Hammer Museum Los Angeles.
He battled dinosaurs. He conquered hell. He raped aliens. He cannibalized social icons. He enslaved the human race, and we loved him for it. Yet, the Grim Reaper proved to be one foe that the mighty Oderus Urungus could not defeat. This was a week to remember as Dave Brockie, the lead singer of metal band Gwar, died unexpectedly.
His passing almost seems like the plot of a movie. Gwar had made a healthy comeback and gained a new following of teenage fans with their ever improving last five albums (in my opinion by far the best music they ever made). In 1999 I saw Gwar playing at a relatively small club in northern California after having nearly faded into obscurity, but in 2012 they were playing to a sold out crowd of screaming maniacs at the House of Blues in Hollywood. Only a few months ago they released what ended up being their final album, Battle Maximus (a tribute to another departed scumdog Flattus Maximus, also known as Cory Smoot who died in 2012). They finished a tour in support of the album and then Dave Brockie died. I never thought the singer for a band like Gwar would live to be ninety in a retirement community, but I didn’t expect him to die so suddenly in the midst of being so active.
I’ve known Drew Liverman longer than most other people in my life. Since the age of 14 we’ve gotten into all sorts of trouble together. At times we’ve lost touch for a year here or there but I feel a special connection to him that only happens when you spend your formative teenage years skateboarding and getting in trouble for graffiti together. One thing has been made clear over the last two decades of friendship with Drew. This guy is a creative super talent. I’ve always admired Drew’s creative abilities with anything that he takes on, whether it be our teenage graffiti shenanigans or his raw ability to jump from design, illustration, or painting with ease. With that said it’s no wonder that Young Sons, Drew’s latest collaborative project with Michael Ricioppo is also a visual feast.
Young Sons takes the concept of collaborative painting to new heights. Mixing a cornucopia of visual references from abstract expressionism to saturday morning cartoons, Ricioppo and Liverman work back and forth in unison and with intuitive speed canceling out, editing, and adding to one another’s marks. The result is a controlled chaos of line and form that is a bold mix of stream of consciousness and disciplined control.
See the work of Young Sons at Mass Gallery in Austin Texas through November 24th 2013 and read Andrew Bourne’s interview with them on Bomb.
Do you control your desire? Or do you allow it to control you? The elusive devil can be a sensory – and involuntary – appetite starting with a gleam in the eye. So when a leather-clad Dougray Scott walks out of a dimly lit diner, temptation of course awaits.
The Scottish actor aspired to make billions as Ethan Hunt’s nemesis in Mission Impossible 2 and he’s been both Dr. Jekyll and Mr. Hyde. He’s played at being a sadistic killer (New Town Killers), a chef falling in love (Love’s Kitchen), and is scheduled to be Dr. Godfrey in the soon to be released goth-horror Hemlock Grove. In this short video directed by Antony Hofman, we find Scott behind a gleaming Mercedes-Benz SLS AMG.
And he’s not resisting, of course, to harnesses the power and beauty of a 1695 kg amalgamation of precision design, performance, and aesthetics being fed by a V8 engine and controlled by a DCT 7-speed sports transmission, charging you up to 317 km/h. As the machine sparks over the dark streets of Los Angeles, the attraction ultimately rests on the drive you get.
Lindberg’s process-intensive pieces are minor monuments to control, elegance, and more than a little patience on the part of their creator. The finest work in the show is a 35-foot long fiber installation suspended between two adjoining walls in the main gallery. zip drawing (2012) consists of thousands of strands of Egyptian cotton thread strung so close together that they become swarming densities of floating color. The shimmering effect of light bouncing off the tightly strung fiber is gorgeous, but it can also have a dizzying, almost epileptic effect depending on how your eye receives the work at a given moment. Painting, drawing, and color theory are natural touchstones for the piece, but so is the notion of “suturing,” a concept traditionally associated with film that describes the mental process by which a succession of individual static images are experienced as a seamless, flowing visual event in the eye of the viewer. The thread can operate in the same way, coalescing into an airy mist, or the effect can be ruptured by the blurred staccato of a thousand tiny filaments.
Pedro Varela’s tightly packed paintings and installations leave no part of a room safe with paint on canvas, walls, floors and even ceilings.The imagery is clearly based on dense landscapes that one might find in a busy metropolitan area with massive skyscrapers sitting next to old art deco structures that leave little space to build except up into the sky. Like a new city that is just taking shape Varela’s scattered yet dense city systems pour onto every surface acknowledging the galleries architectural structure yet denying to stop just because the wall ends and the floor begins. (via)
For the inaugural year of Le Havre’s Contemporary Art Biennale, Claude Cormier + Associés Inc. designed a pop art piece for the City Hall’s grand pergola. Pergola is a tribute to Le Havre-born Monet, forefather of impressionism: 90,000 plastic balls are arranged into an image of the wisteria blooms that figure in many of the artist’s oeuvres. The balls come in five tones – an abstracted impressionist palette – and climb towards the abundant sunlight, creating an exuberant play of color, light and shadows underneath. As with many of the projects by Claude Cormier + Associés Inc., the deliberate insertion of the artificial shakes up preconceived ideas – but the installation also aims, more simply, to delight visitors. (via)
Aesop’s pranksters, villains and modest heroes are apposite subjects for sculptor Nicola Hicks, whose work frequently balances the mythical and the anthropomorphic.This exceptional selection of new sculptures form a body of work surrounding contemporary themes, imbuing great energy and combining complex compositions with painstakingly detailed expressions.
It is important to recognize that Hicks is not interested in merely illustrating the fables, rather the works serve as a catalyst for her creative process, providing the foundation upon which she is able to express her own personal visual language. Furthermore, the lively narrative has enabled Hicks to continue her investigation into the effects of gravity on the physicality and assemblage of the works, whilst allowing her to pursue her chosen composition.
The raw-edged, tactile nature of these works epitomizes Hicks’ delight in sculpting. Plaster is blended and contoured into natural forms creating aesthetic qualities rich with spontaneity and strength so as to capture the essence of the characters.This, combined with the large scale of the sculptures forces us to confront the realities of the fables.
Rather than depicting the resolution of each of the fables, the animals are frozen in their moments of decision.The expression of the transitory moment serves to evoke the innate sensibilities of her subjects.The foolish crow has not yet dropped his cheese, unaware that soon he will be hungry and mocked on his branch.
From art direction to motion graphics young Paris based designer Curtis Baigent has a knack for bringing his creative talents to a wide array of projects with laser sharp precision. Two of our favorites include the direction, photography and design for french band Sarh and the short video for a French TV show called Archéologie. Watch more videos and see more work by Curtis after the jump.