Jean Marembert (1904 – 1968) was a founder of the group with Louis Cattiaux – a group of Surrealists of a more decorative nature. His work is also, like Giuseppe Arcimboldo’s work, looks like it was made in this century instead of the last. That just goes to show how our current sensibilities are based off the past. Old aesthetics are recurring and cycled through, even filtered down. That’s why I believe it when people say that nothing is ever original anymore.
Michael Dotson’s paintings look like tripped out buildings in another dimension of Second Life. Or in First Life, coated with thick layers of pastel and neon paint. I really like this fanciful approach to architecture.
Eastside Angelinos are probably familiar with the dead-end leading to an overpass in Chinatown on Yale Street (I know I’ve made the repeated mistake? miraculous discovery? of turning onto Yale and thinking it was a through street many a times)- but less have probably seen it used for anything not related to shady drug deals (can anyone confirm this assumption?).
Get Rid of White Walls Collective is focused on bringing fine art out of galleries and into non-traditional spaces: public, domestic, industrial, nautical, etc. These events are meant to reveal the unique identity of these sites to the surrounding public, offering a place of public interaction via the provocation of the urban landscape.
This Iranian artist living and working out of Brooklyn, NY makes paintings that look like they can only be found on Geocities sites and Google image searches. They have this janky magical pixelated quality that I love in jpegs…
Really clever and adorable (!!) stop motion video about a wolf who wants to eat a pig… the whole thing is constructed of photos in developed film, involving multiple mediums and layers of reality. Kind of meta-meta. Also, last I saw it was in the popular section of saved bookmarks on Delicious!
"Lake Intervention", 2007/2008. Sound installation/ 30" x 24" Digital C-Print. Collaboration with Samuel Ekwurtzel.
Tiffany Sum’s work explores the im/possibility of intimacy between body and technology. Through interactivity in participatory situations, impressions alternate between the visceral and palpable, the fleeting and intangible. The responsive environment generates a constantly changing social formation among the audience. The process of internalizing these impressions into personally meaningful enactments can be voluntary — as in the gallery, or involuntary — as in the public place.
Cattelan’s personal art practice has led to him gaining a reputation as an art scene’s joker. One of his best known sculptures, ‘La Nona Ora’ consists of an effigy of Pope John Paul II in full ceremonial dress being crushed by a meteor and is a good example of his typically humorous approach to work. Another of Cattelan’s quirks is his use of a ‘stand-in’ in media interviews equipped with a stock of evasive answers and non-sensical explanations.