"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.
Another gripping documentary recently watched care of Netflix.
Is it possible for a photograph to change the world? Photographs taken by soldiers in Abu Ghraib prison changed the war in Iraq and changed Americas image of itself. Yet, a central mystery remains. Did the notorious Abu Ghraib photographs constitute evidence of systematic abuse by the American military, or were they documenting the aberrant behavior of a few bad apples?
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.
I first met Juka Araikawa during my stint at UCLA as a teachers assistant for a drawing class. She was a quiet girl who had moved across the world to LA to study art. Even though she didn’t say much her work always stood out as some of my favorite in the class.
Eddie Martinez details a strange and wonderful world of googly-eyed pots, Cosby sweater wearing owls, recurring characters and colorful, quirky compositions. In a recent interview, Martinez details his no-nonsense, back to basics approach to creating work. Unlike the intense philosophical considerations and conceptualizations inherent in so many artists’ meandering methodologies, Martinez takes an almost blissfully ignorant approach in the laconic tradition to making his works: “Sometimes an idea will work its way into a drawing … I don’t know…I don’t really make plans for [the painting] so much.I usually just start it.”