I absolutely love this house, designed by William Hirsch for art director John Holmes, (no, not that John Holmes!) most famous for his original cover art for “Jaws.” Their home is comprised entirely of salvaged, hodge podge reclaimed building materials, making it a sort of living, breathing, thrift store turned frankenstein-like architectural collage. Ah, the free-wheeling spirit of the 70s that kicks modernism’s dutch-minimalist-eames-clean line-stainless steel-white cube’s ass!
Maury Gortemiller displays an interest in exploring the “residues of human experience.” Examining discarded objects, “the flotsam left behind,” in his opinion, has the ability to impart a wealth of information about individuals and attitudes. Gortemiller’s photographs appear to be ordinary; however, they certainly allow for potential imaginative and conceptual meanings.
Ben Vickers (who I blogged about a couple months ago) has joined up with Sarah Hartnett to create Sopping Granite. I love the colors and forms, and the manifestation of Vickers’ digital sculptures into the third dimension via shiny stretchy tents. Maybe this is what sopping granite looks like?
This documentary features the story of self-made curators Herbert and Dorothy Vogel, a couple who began collecting works of unknown artists in the early 60s, crowding their little one bedroom apartment with tiny artworks by following two rules: 1. affordable, 2. small enough to fit in their apartment. The collection developed into one of the most important contemporary compilations – many of the amateurs they befriended in their early years continued on to become world renowned artists. Today, the collection is worth millions of dollars, but the couple has yet to sell a single piece. Their apartment got so packed, Dorothy reminisced, “Not even a toothpick could be squeezed in.” The couple donated a great part of their collection to the National Gallery of Art in Washington D.C. The Vogels still live in the same little apartment, and have restarted their collection again. “Curatorial visionaries,” they started their collection on meager means, Herbert a postal clerk and Dorothy a librarian; even with the rising fame of their collection, the two have maintained a humble lifestyle, sharing their space with fresh art, 19 turtles, fish, and a cat!
Space age abstraction – the power of design tools. Bechira Sorin’s recent digital work, especially the one above, retain a Neo-Dali aesthetic. I love how seamlessly everything ties together, and how fluid his composition is. That said, the futuristic surrealism does not speak for all his work, check out his other illustrations and experiments with typography after the jump.
Short Order Cook | Marathon, TX | 2-Person Household | She can bench press over 300 lbs. | 2007
In his “You Are What You Eat” portrait series, Mark Menjivar examines the interiors of refrigerators in homes across the United States. The result is an exploration of hunger issues, of “how we care for our bodies, for others, and for the land.” The result is a full spectrum of interpersonal connectivity in which everyone is truthfully represented.
In his statement, Menjivar claims, “A refrigerator is both a private and a shared space. One person likened the question, ‘May I photograph the interior of your fridge?’ to asking someone to pose nude for the camera. Each fridge is photographed ‘as is.’ Nothing added, nothing taken away.”
3:2 An experiment in time travel. Subject lived in isolation for three weeks adjusting to a slow clock, experiencing only two weeks 2008
Continuing my Rhizome Commissions coverage, here is Office for the development of Substitute Materials. Their work deals in the relationship between objects and how humans use them, or how objects become more human just because we are using them. The ideas about tools and their relationships to us and each other is incredibly smart but at the same time, attainable in their simplicity. The way they document their work is also very beautiful. I’m a big fan. You can see their Rhizome proposal after the jump (it’s the last item in the post).
Daniel Entonado‘s work is friendly and wonderfully disproportionate. He conjures up whimsical situations, and executes them in a style mildly reminiscent of patchwork. I enjoy how his colors are not quite bright and not exactly pastel, but a nice medium.