Brett Reichman has been pursuing an increasingly sexually charged direction with his painting. It’s clear that his subject matter is an important aspect of his work. But just as important is how visceral this stuff is. I get the feeling that Reichman’s skill with a brush allows him to communicate any message that pleases him, no matter what the content might be. This looks like one of those cases where you especially have to see a work in person to fully experience it. Brett Reichman is based in San Francisco.
Eric Standley’s work is made out of hundreds (yes hundreds!) of sheets of paper that are laser cut with dense geometric patterns. Looking like 3D stained glass from far away, these layered images transport you to another time and place with their meditative quality. What’s most fascinating about Standley’s works are the areas where the paper floats over from one side to the other creating deep caverns with up to 3 inches of depth. (via visual news)
Artist and desinger Fabrizio Lamoncha works with more than a little bit of humor. His Pooprinter project statement begins with the quote “A common idiosyncratic habit in all birds is their inevitable punk nature to shit over our most precious belongings.” The project is as innovative as it is gross. Lamoncha slowly prints an alphabet on large sheets of paper by using strategically placed perches and the birds own droppings. Check out the time-lapse video of the bird poop in action above and enjoy Lamoncha’s toungue-in-cheek explanation the project:
“A group of male zebra finches underwent this experiment with rigorous commitment. The author/captor, taking the role of some kind of 1984´s Big brother, is providing the implementation guidelines for the transformation of this countercultural attitude into a marketable artsy product. The observation of this group of non-breeding birds in captivity and the experimentation with induced behaviors has been rigorously documented for this task.” (via booooooom)
In Il Capo (The Chief), Italian filmmaker Yuri Ancarani exquisitely documents the unexpectedly captivating and largely unexplored process of marble extraction.
Set in an Alpine quarry, Il Capo presents the powerful dynamic between the boss and his workers, focusing predominantly on the wordlessness of their dialogue. Using seemingly enigmatic gestures and hand signals reminiscent of a conductor directing his orchestra, the boss silently and gracefully guides two lumbering bulldozers as they claw into the hillside and extract colossal wedges of marble. Juxtaposing the boss’ fluid movement with that of the bumbling machinery, Ancarani successfully conveys the astounding and paradoxical nature of the process: “how he can move gigantic marble blocks, but his own movements are light.”
In addition to the visual strategies employed in Il Capo, Ancarani has a unique approach to sound. Void of conversation, narration, and soundtrack, the short film offers only the sounds of the heavy machinery and the toppling marble—placing all emphasis on the rawness of the process, and conveying, above all else, the artistic nature intrinsic to a seemingly industrial task. (Via Nowness)
Chinese artist Liu Fei and I share the same name (my name would be Liu Fei too if it was written last name first) but we obviously are not the same person…it’s sort of like how I have 3 other Fei Liu’s as friends on Facebook who are all dudes.
Liu Fei paints bald young women that comment on the interplay of conformity and self-expression. Their means of dress and lack of hair are very much in line with one another, yet their rebellious gestures and exaggerated facial expressions speak of a desire to turn convention on its head. Red smiling mouths jump out from an otherwise black-and-white monochrome palette, thus seeming to ridicule the country’s traditional female virtues like purity, delicacy and grace.
Art turned fatal for John Jairo Villamil, a thought provoking 25-year-old Colombian university student, who asphyxiated himself amidst a performance. For his act, Villamil covered his head with a garbage bag and placed his feet inside a bucket of water. His actions served as a personal critique of his hometown of Bogotá, Colombia which has been considered one of the most violent cities in the world. Since he had previously executed this piece without incident, many thought the heavy breathing and convulsion were part of the act. Villamil died at an ICU five days after being pronounced brain dead immediately following the incident. His mother, who at one point is said to have provided tips on how to make the performance more shocking, is now blaming the university for neglect.– Huffington Post
Short video from Columbian TV about the incident after the jump.
Light, shadow, and the human figure feature prominently in the recent works of photographer Dusdin Condren. Whether looking at an arm amputated by shadows or a woman posing Lee Miller-like in the striated light of a nearby window, there is a certain surreal, but serene viewing experience to be had with these photographs. The sometime use of black-and-white certainly increases this special effect.
Marc Quinn’s surreal sculpture work is undeniably provocative and captivating. While he uses many different materials for his sculpture and installation work, he always seems to address the idea of bodies and their boundaries, the materiality of the human condition, or the relationship between nature and culture. Quinn’s 2004 exhibition, The Complete Marbles, is a collection of marble sculptures depicting amputees and disabled individuals that alludes to the style of Greco-Roman statues. Quinn recently donated his paradoxical sculpture from 2008, “Planet,” for permanent display at the Gardens by the Bay in Singapore. Very large and heavy, this sculpture depicts his son as a sleeping baby and appears weightless, almost floating. His most recent solo exhibition, All the Time in the World, is currently on display at Mary Boone Gallery in New York until June 29th.