Since my last post about Street Art Utopia’s “Best List” took off and caused a decent amount of response, I think it is important to involve the Cult’s own selection. Here you will find a carefully curated and crafted list of every imaginable kind of public form of expression and their respected historical contexts. More after the jump.
Iconic and lovely Louise Bourgeois once said, “The feminists took me as a role model, as a mother. It bothers me. I am not interested in being a mother. I am still a girl trying to understand myself.”
Likewise, one might suggest that the soft and silicone rubber sculptures of Michelle Carla Handel, collected here, are conceptually doing something similar, but with a splash of Claes Oldenburg’s wit and color pop.
Each piece feels intriguingly pubescent: exploring the grotesque softness of bodies and gender through seemingly pliable forms that physically confuse or bend out of shape, emotionally heaving with discovery and wear.
It’s always interesting to see what graffiti writers do in the fine art world. Some keep rehashing the same work on canvas, losing all of the power that energized the work by having it in the streets. However some artists such as the legendary Dutch graffiti artist Delta take what they’ve learned through their years of painting letterforms and create amazing new works that re-imagine architecture, space, installation and painting. Wondering what Delta’s graffiti looked like back in the day? Click the read more button and check out the last image.
Adam Shecter at Eleven Rivington, on view from September 2 – October 4th, opening September 9, 6-8 pm. This is the artist’s New York gallery solo debut and will feature a new two-channel digital video animation entitled New Atlantis.
Artist Chris Dorosz uses a unique painting technique. He drips paint droplets onto plastic rods. When arranged the rods form a three dimensional image, a pointillism like sculpture. Step back from the screen for a moment – the disparate dots congeal to from images of people. The fact that this is similar to the way a low resolution digital image works is not an accident. Dorosz revels in the idea of the drop as a basic unit of constructing a painting. He says:
“Out of material discovery I began to regard the primacy of the paint drop, a form that takes shape not from a brush or any human-made implement or gesture, but purely from its own viscosity and the air it falls through, as analogous to the building blocks that make up the human body (DNA) or even its mimetic representation (the pixel).”