Swedish architect Gert Wingårdh and Finnish artist Kustaa Saksi have teamed up to produce a massive installation for the 2013 Stockholm Furniture Fair. The project consists of 700,000 illustrated sheets of A3 paper and 44,000 suspension points. The result is a vibrant mosaic of art and design. In Kutsaa Saksi’s own words: “I’m fascinated by architecture and antique ceiling paintings in temples all over the world, and the way they’ve attracted people to share their thoughts and ideas. I’ve wanted to create a similar aesthetics, mixed with orientalism, art, mathematics, science and psychedelia, by depicting communication as Darwinistic evolution. Constantly on the move and a work in progress, like bacteria and marine animals when they crawled out of the depths of the sea millions of years ago.”
Watch a time lapse video of the installation being built after the jump! (via)
Beautiful/Decay was recently reviewed in the monthly arts and culture magazine, THE. We got a glowing review for our retrospective art show, “Beautiful/Decay A to Z” at Kopeikin Gallery. In case you missed it, we celebrated the culmination of our complete alphabetic run in a traditional magazine format by compiling an all-star list of 26 of our favorite past featured artists (one for each issue of the magazine & letter of the alphabet). A great excerpt from the review: “The art was executed with dignity and evident pride, imparting substance without calling attention to its own intelligence.”
I recently discovered Tara Donovan’s work and was blown away by her microcosmic creations that reference organic forms. Using mundane objects such as simple plastic buttons or number 2 pencils, she finds beauty in multitudes. Like schools of fish banding together to seem much larger than they are, Donovan transforms the singular and ordinary into grand and ostentatious.
Stephanie Tillman‘s designs match a subject, often an animal or two, with a matter-of-fact line of text. She applies the imagery to postcards and prints, but the embroideries are the most successful in capturing a sense of earnestness behind them. All handmade by the artist herself, each piece is permanently glued to a flexihoop — such a great touch as a frame — and finished with fabric to hide the stitching on the back. Available through her Etsy store.
Yoko Ono needs no introduction. She is a well established art superstar and one of my personal favorites. Ono has a new video called “Make-Up Tips for Men” (made as part of her clothing line for Opening Ceremony). Over “uh-huh”s and a club beat, men are given commands like, “When you see a rainbow in the sky. Breathe it in,” or “Let everything in your room shine and sparkle.” Grooming be damned! (via)
Wayne Gilbert doesn’t just paint your average minimal iconic paintings? His painting process involves mixed REAL human remains into his work. I’m not sure if he’s visiting the local funeral home to pick up a bag of dust or taking bones and pulverizing them to mix into paint but he definitely gets the “creepiest art material” award for 2011. Check out the rest of his work after the jump.
The world’s strongest man or woman; you may not even be close to it, but these people might be. Brooklyn based photographer Brian Finke captures an inside look into the pageants of incredibly chiseled muscle men and women of bodybuilding competitions. He not only displays the showmanship of this kind of competition, with the small bikinis and bathing suits, but also the competitors getting ready for their big moment in the spotlight. Men and women that seem to be almost bursting out of their skin with muscle parade themselves proudly for the cameras and judges in this captivating series.
Brian Finke’s photography portrays scenes of interesting happenings of everyday life. His documentary style mixed with a little bit of humor makes his work irresistible. This series of his, titled Most Muscular, can be seen on view at the School of Visual Arts Chelsea Gallery in New York City from August 22nd until September 19th. The exhibit not only features unusual characters with almost unbelievable muscle tone, but also another series of Brian Finke’s titled 2-4-6-8. This slightly offbeat series documents cheerleaders doing their routines, with a slight flavor of humor added in as well. Finke’s photography exhibits vivid colors and dramatic compositions, adding a bit of narrative to his work. Check out more of this artist’s alluring documentary style photography on his Instagram @BrianFinke.
Chilean artist Don Lucho creates installations from found cardboard that simulate extraordinary scenes from everyday life. During a street fair in Santiago, Chile, Don Lucho crafted a fruit and vegetable stand, titled “El Puesto de Don Lucho,” stocked fully with items made of paper. He stayed there the entirety of the fair, acting just like another ordinary fruit stand.
“I sold a lot of cardboard fruits. The…reactions were different, some were angry because the fruit was fake, others thought it was a hidden camera show, other people laughed. A lot of people asked many questions like what is this fruit for or if there was real fruit inside the cardboard fruit? The real fruit sellers got very angry and started shouting: Stop buying cardboard fruit! It’s not real fruit!” (source)
Another one of his installations, “Casa de Carton,” depicts an entire apartment, kitchen, toilet and all, completely made of cardboard. With a skateboard leaning against the wall, clothes thrown about, and an unmade bed, the apartment, despite its paper construct, perfectly mimics a truly lived in environment. He has also created various installations that reproduce accidents. On the streets of Santiago, Chile, Lucho, along with collaborator Quillo, created a cardboard car crash, as well as a small air craft that looks as if it has fallen from the sky.
Don Lucho’s work aims to question materiality both is an artistic sense as well as a monetary one. Through imitating the real, using materials found on the street, Don Lucho provokes the viewer to assess what value truly is — what does it mean for an object to be worth something? His work falls in line with the postmodern notion of simulating the real, which in turn, become “signs” of the real. If his work can provoke emotions and thoughts just as the genuine objects could, then, what is the true difference? Does Lucho’s work prove that the simulated can be just as powerful as the authentic? Or, does it prove that the authentic no longer has such a individualized meaning, as the simulated actually deflates meaning of the real? (think Andy Warhol’s Death and Disaster Series). Lucho states, “the confusion people feel when they first encounter the scene makes them doubt what is real and what impact it should have one them.” (source)